The Quality of Novel and Short Story

THE QUALITY OF NOVEL AND SHORT STORY :
LITERATURE ELEMENTS AND MENTAL HEALTH STUDIES
Lecturers :
Syahruni Djunaid, S.S., M.Pd.
Aryana Nurul Qarimah S.Hum., M.A.
Arranged by : Group 2B (5AG1)
Andi Annisa Irpan (40300120014) Nur Wahyuddin (40300120019)
Dzakiyyah Haya A. (40300120004) Andhy Arwilyam (40300120027)
Anisah Ramadhani (40300120031) Mulyadi (40300120025)
Syarifah Amelia (40300120023) Pardiansyah (40300120011)
ENGLISH LANGUANGE AND LITERATURE
ADAB AND HUMANIORA FACULTY
ALAUDDIN STATE ISLAMIC UNIVERSITY OF MAKASSAR
2022
PREFACE
Praise and gratitude we pray to the presence of God Almighty for His blessings and
grace so that we can complete the preparation of this paper on time. Thank you to
Mrs. Syahruni Junaid S.S, M.Pd and Aryana Nurul Qarima S.hum M.A as Lecturers
of the Children Literature course who always help us and provide a lot of useful
knowledge.
It was one of the assignments for the Children Literature course. This is not a perfect
writing arrangement so the author expects criticism and suggestions to make it better.
Hopefully this writing can be used as a reference for analyzing novels and short
stories about mental health.
Makassar, 22 October 2022
Writer,
Group 2
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CONTENTS
PREFACE.......................................................................................................................i
CHAPTER I...................................................................................................................1
INTRODUCTION.........................................................................................................1
CHAPTER II.................................................................................................................4
LITERATURE REVIEW..............................................................................................4
A. The Literature Elements of Novel and Short Story........................................4
1. Fiction Genre for Children’s Literature......................................................4
2. Realism Genre for Children’s Literature.....................................................5
3. Theme as the Unifying Unit........................................................................6
4. Characterization in Children Stories...........................................................6
5. Plot of Children’s Literature.......................................................................8
6. Setting for Children’s Literature...............................................................11
7. Point of View of Chilren’s Literature.......................................................11
8. Style for Children’s Literature..................................................................13
B. Mental Health Studies of Novel and Short Story..........................................14
1) Trauma......................................................................................................14
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2) Ego............................................................................................................16
3) Insecurity...................................................................................................17
4) Pessimist....................................................................................................18
5) Stress.........................................................................................................20
CHAPTER III..............................................................................................................21
FINDING AND DISCUSSION...................................................................................21
A. FINDING IN NOVEL AND SHORT STORY............................................21
1. Analysis Of “Kisah Sie Sie” Short Story By Tere Liye............................21
2. Analysis Of “Buat Apa Disesali” Short Story by Tere Liye.....................35
3. Analysis Of “Senyum Palsu” Short Story By Wahyuni............................53
4. Analysis Of “Hujan” Novel By Tere Liye................................................68
5. Analysis Of “Kalau Semua Wanita Jelek” By Tere Liye..........................84
6. Analysis Of “Si Anak Badai” Novel By Tere Liye...................................96
7. Analysis Of ‘Dear Nathan’ By Erisca Febriani.......................................109
8. Analysis Of “Orang Orang Biasa” By Andrea Hirata.............................120
B. DISCUSSION...................................................................................................130
1. Literature elements........................................................................................130
2. Mental Health Studies...................................................................................133
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CHAPTER IV............................................................................................................136
CONCLUSION AND SUGGESTION......................................................................136
A. CONCLUSION...........................................................................................136
B. SUGGESTION...........................................................................................137
BIBLIOGRAPHY.....................................................................................................138
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CHAPTER I
INTRODUCTION
A. Background
A literary work such as novels and short stories are used to describe the
imagination of human life. Novel is a fictional prose that has long and complex
sentences. In it, it is depicted imaginatively from an event experienced by humans,
with certain characters and backgrounds (Drs. Warsiman, 2016).
Meanwhile, short stories are literary works in the form of prose writings where
short stories have a fictional genre so that they do not occur in reality, but can
represent real human life because of the author's imagination or based on the life
experiences of the author which are then realized in the story of the story characters.
This relates to the function of literary works that are made to describe or represent a
reality from human life (Samosir et al., 2019).
In terms of characteristics, what can be stated as children's literature is if the
images or metaphors of life that are told are within the reach of children, both
involving aspects of emotions, feelings, thoughts, sensory nerves, and moral
experiences, and are expressed in linguistic forms that can also be reach and
understand by children's readers (Saxby, 1991). So novels and short stories are in
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accordance with the quality of children's literature, namely if the images and
metaphors of life that are told, both in content (emotions, feelings, thoughts, sensory
nerves, and moral experiences) and form (language and ways of expression), can be
reached. and understood by children according to the level of mental development.
In literary works, the author also raises a problem that is also faced by humans.
Therefore, literary works cannot be separated from the description of one's life
problems (Wardani & Sudaryani, 2020). So in simple terms, both novels and short
stories are a description of the problems of a person's life involved in a human
psyche. So that novels and short stories can be studied using psychological theory.
Psychology is a theory that focuses on aspects of the psyche. Meanwhile, literary
psychology is an interpretation, understanding, and knowledge of the literary work
itself by using its psychological aspects (Ratna, 2011). Psychological studies in this
case are focused on a psyche that is in the characters in novels and short stories that
are associated with mental health. Mental health itself has two meanings. The first
definition is mental health is the condition of people who have mental disorders or
mental disorders or the condition of people who are mentally unhealthy. The second
understanding is mental health is the condition of people who are mentally healthy
(Fakhriyani, 2019).
So based on the discussion above, the problems we will examine are literature
elements and mental health studies in novels and short stories. The novels analyzed
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are: Hujan, Si Anak Badai, Dear Nathan, and Orang-Orang Biasa. Then the short
stories in this analysis are: Kisah Sie Sie, Buat Apa Disesali, Senyum Rahasia, and
Kalau Semua Wanita Jelek.
B. Problem statements
So based on the background explanation above, the problem formulation of
this research is:
1. What are the literature elements of novels or short stories?
2. How is mental health studies applied on to novels or short stories?
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CHAPTER II
LITERATURE REVIEW
A. The Literature Elements of Novel and Short Story
1. Fiction Genre for Children’s Literature
Formula fiction is fiction with hackneyed sequence of events (Lukens
1999:18)
a. Mystery and Thrillers
One popular type of formula fiction is the mystery story, in which
mystery and often terror play controlling parts. They rely for suspense
upon unexplained events and actions that are sometimes, by story's end,
resolved or explained by reasonable and carefully detected discoveries.
Within the genre we include the detective story, as well as novels of
crime, suspense, and espionage.
b. Romantic Story
The romance differs from formulaic romantic stories. The term is more
often used today as describing a story that is freely imaginative, or as
the New English Dictionary defines it, "a fictitious narrative in prose of
which the scene and incidents are very remote from those of ordinary
life."
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c. Series Novel
Series novel is Many stories are published as parts of a series, some of
them with one uniting element and some with others.
2. Realism Genre for Children’s Literature
Realism means that a story is possible, although not necessarily probable.
Effect follows cause without the intervention of the magical or supernatural
(Lukens 1999:14)
a. Realistic Story
Problem realism and social issues realism, which are similar in their
focus upon problems and their situations are realistic or possible.
b. Animal Realism
Nonfiction that evokes a thoroughly efferent response should deal
accurately with animals, telling the details of their appearances, their
habitats, and their life cycles. Animal realism as fiction adds another
dimension by giving continuity and conflict or adventure to the story.
c. Historical Realism
Historical fiction is placed in the past, and the time and place in the past
determine setting. Details about vehicles, clothing, or food preparation,
for example, must it the time and the place.
d. Sport Stories
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Sports stories have become increasingly individualized, with well-
developed characters struggling with personal issues and discovering the
forces and choices they must confront.
3. Theme as the Unifying Unit
According to Lukens, theme is the main idea that holds the story
together or the central meaning of a piece of writing. (Lukens 1999:135)
Types of Themes
a. Explicit Theme, a theme that can be interpreted by the reader from
what the writer states openly and clearly in a sentence.exactly states a
sentence on the text that will be interpreted by the reader as theme.
b. Implicit Theme, a theme that is based on the reader's view because this
theme is not stated precisely at every point in the novel..
c. Multiple and secondary Themes, based on what Lukens said that if a
story has many themes, both explicit and implicit themes, most of them
will center on the main theme and some seem less important which
called secondary themes.
4. Characterization in Children Stories
a. Revelation of Character
Character is used to mean a person and sometimes a personified animal
or object. (Lukens 1999:80)
1. By Action, what the character does tells us much about him/her, as
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well as how the character behaves and his or her attitude. This answers
wether the character is a good person or a bad person.
2. By Speech, is what the character says provides a great deal of insight
for the reader. The character might speak in a shy, quiet manner or in a
nervous manner. The character might speak intelligently or in a rude
manner.
3. By Appearance, is how the character's physical appearance is
described. For example, we might be told the color of hair or something
about the clothing of the character. How the character dresses might
reveal something about the character.
4. Other’s Comment, is what the other characters say and feel about this
character. We learn about the relationships among the characters and
how the character makes the other characters feel.
5. Author’s Comment, is the author's description of the character.
b. Types of Character
1. Flat Characters, are two-dimensional in that they are relatively
uncomplicated and do not change throughout the course of a work. we
know very little about a flat character ; flat characters are not meant to
serve as main characters . They serve as necessary elements in plot or
as elements of the setting .
2. Round character, are complex and undergo development, sometimes
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sufficiently to surprise the reader. A round character is fully
developed , meaning we know lots about the character ; readers may
even be able to anticipate the actions of a round character if the
characterization is well done and consistent .Plot For Children’s
Stories
5. Plot of Children’s Literature
Plot as the sequence of events showing characters in action (Lukens
1999:103)
a. Exposition, The conflict is sometimes referred to as the problem.
This is the plot point that creates tension, the item that needs to be
dealt with, or located, or prevented, or avoided.
b. The Rising Action, is the section of a story where the tension
increases.
c. The climax, is the part of the story where all the tension that has
been building up is finally and appropriately released.
d. Falling Action, final or closing action following climax:denouement
e. The Resolution, sometimes referred to as the denouement. This
concludes the story and gives us comfort that everything is well.
Particularly in children's literature, certain story components require
additional focus in order to align with what young readers want and
need in order to develop moral character, such as:
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1. Narrative Order, is the architecture of the story, the structure of
events, and is similar to the design of a building. There are two key
ideas:
a. Chronological Order, a narrative that chronologically connects
one event to subsequent events is known as a chronological order.
b. Flashback, is a literary technique in which the author shows the
reader the occurrence of particular events that happened before the
present-day the narration is narrating or events that happened
before the events that are currently taking place in the story.
2. Conflict Types and Roles
According to the book of lukens, conflict occurs when the
protagonist struggles against an antagonist, or opposing force. in
short, it is conflict that, added to narrative order, makes plot.
There are five main kinds of conflict, such as:
a. Person Against Person, in which two (or more) characters are in
conflict.
b. Person Against Self, in which a character faces an internal
struggle.
c. Person Against Society, in which conflict comes from an unjust
social climate.
d. Person Against Nature, in which the conflict is rooted in a natural
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phenomenon.
3. Actions Pattern, these are primarily three pattern shapes of those
actions, such as:
a. Straight horizontal line, can be demonstrated by Sharon Creech's
story Walk Two Moons. Tension does not mount to a breaking
point, but keeps us interested in the friendship between Phoebe and
Salamanca -misnamed for the Seneca tribe of her ancestry.
b. An upward slanting line The first of these patterns moves from one
incident to another related incident, building upon discoveries, and
changes toward a final climax that brings the action to its peak and
ends there.
c. A downward slide, The story rises to a peak or climax and then
clearly concludes. Rising action begins with a situation that must be
shown and explained, we must know what has happened before the
story opens, what has created the current situation.
4. Suspense, is the emotional pull that keeps is wanting to read on,
involes us in conflict up to the climax in the final pages. These
moments of suspense, however, are not panic points in the story, not
at any time do wo know the outcome with certainty.
5. Cliff-hanger, The end of the chapter which hangs with tension in
such a way that it makes the children plead for the next chapter
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6. Foreshadowing, or also called the clues. foreshadowing to relieve
the readers anxiety and to produce a satisfying sense of the inevitable.
7. The Climax, The peak and tuning point of the conflict, the point at
which we know the outcome of the action.
8. Denoument, The denouement begins at the climax, at the point
where we feel that the protagonist's fate is known.
9. Kinds of Plots, there are two primary types of plots, such as :
a. Progressive plot, Plot with central climax.
b. Episodic plot, Plot with independent, short-story-lke chapters
linked by characters or theme more than by action.
6. Setting for Children’s Literature
The setting helps to establish the mood of the story (Lukens 1999:153)
There are two types of setting:
a) Integral setting, the setting is one that points to a specific place and
time period.
b) Backdrop Setting, happens when the story is timeless and the writer
does not specify the time or place when it happened.
7. Point of View of Chilren’s Literature
Point of view is the mind(s) through which the reader sees the story
(Lukens 1999:175)
a) The first possibility a writer might consider is the first-person point
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of view, used when a story is told in first-person “I." In such
storytelling, the reader lives, acts, feels, and thinks the conflict as the
protagonist experiences and tells it.
b) The second possibility is the omniscient point of view. Here the
witer, telling the story in third person (he, she, they), is all-knowing
or omniscient about any and every detail of action, thought, and
felingconscious or unconscious-in past, present, or future; if the
writer chooses.
c) A third possibility is the limited omniscient point of view, in which
the writer, again telling the story in third person, concentrates on the
thoughs, feelings, and signifcant past experience of only the central
character or protagonist, Occasionally the writer may choose to be
omniscient about several-though not all-characters; this choice, too, is
sometimes called limited omniscient.
d) the tourth possibility is the objective (dramatic) point of view, again
using third person. The meaning of this term seems clear when we
refer to the fictional reality of drama or motion picture. A camera
seems to record-it cannot comment or interpret. There is no one there
to explain to the reader what is going on or what the characters think
or feel. The camera selects and we see and draw our own
conclusions.
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8. Style for Children’s Literature
Style is basically words, how an author says something as opposed to
what he or she says. From infinite numbers of words available, the writer
chooses and arranges words to create a particular story, the words and
arrangement best for that story ( Lukens 1999:195)
a) Connotation is the associative or emotional meaning of a word.
b) Imagery is the appeal to any of the senses; it helps create setting,
establish a mood, or show a character. We use imagery in our
everyday conversations to describe sounds, smells, and sights.
c) Another device of style is figurative language. The writer uses
words in a nonliteral way, giving them meaning beyond their usual,
everyday definitions and thereby adding an extra dimension to
meaning.
d) Hyperbole Exaggeration or overstatement.
e) The reverse of exaggeration is understatement, or playing down.
Like hyperbole, it may be used for comic effect.
f) One figure of speech, allusion, probably has meaning only to the
maturc reader, since it relies on recognition of a reference to
something in our common understanding, our past, or our literature.
g) A symbol is a person, object, situation, or action that operates on two
levels of meaning, the literal and the figurative or suggestive.
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B. Mental Health Studies of Novel and Short Story
The first definition is mental health is the condition of people who
have mental disorders or mental disorders or the condition of people who
are mentally unhealthy. The second understanding is mental health is the
condition of people who are mentally healthy (Fakhriyani, 2019). But
based on the literature that we study more leads to the first mental health
definition of mental disorder:
1) Trauma
Trauma is a condition in which humans experience events or
circumstances related to one's experience. Trauma itself is divided
into several types, the first type is psychological trauma and the
second type is physical trauma. Psychological trauma is usually
caused by an event that spontaneously can damage a person's mental
resilience. So that makes the person always focused on circumstances
that make it difficult to forget the incident, where it can attack a
person's psychological diagnostics as a whole. While physical trauma
usually occurs because of a condition that results in severe or minor
injuries that can almost endanger life or certain body parts and
usually require medical help. There are several events that may cause
you to experience trauma. Some of them are as follows.
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a. An event that only happens once
Make no mistake, even though it only happens once in a lifetime, there
are events that can cause deep trauma for those who experience them. This
includes accidents, natural disasters, and terrorist attacks.
This has the potential to cause trauma, especially if it occurs suddenly
and unexpectedly and experienced as a child. The trauma experienced in
this incident is psychological trauma (inner) arising from natural disasters
that cause a person to have bad memories such as losing loved ones due to
natural disasters. Especially when it happened right before his eyes.
b. Events that occur continuously
In addition, events that occur continuously can also cause traumatic
effects on people who experience them. So, it doesn't mean that because of
experiencing it every day, the person is used to the unpleasant events that
he experiences, yes. There are several things that can cause feelings of
trauma. For example, living in an environment full of crime, to having a
serious and deadly disease. Experiencing bullying as a teenager or
domestic violence, sexual harassment, to being abandoned by parents as a
child can also be the cause of trauma. The trauma experienced for this
incident is classified as physical trauma caused by physical violence. That
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is in the form of violence that involves direct contact and is intended to
cause feelings of intimidation, injury, or other physical suffering and
bodily harm. But not only physical trauma, this incident also resulted in
psychological trauma experienced by the victim.
c. Events that are often taken for granted
In addition to these two incidents, there are also events that seem
trivial, but can cause trauma. Usually, many people think this is normal.
Especially if many other people who experience it but do not feel the
effects of trauma.
For example, the sudden death of a loved one, breaking up with a
partner, or going through an embarrassing or disappointing experience.
2) Ego
Egos develop from the id to allow people to handle reality; So that
ego Operate according to the principle of reality (reality principle);
Getting by
The satisfaction the id demands by preventing new or voltage from
occurring Defer to pleasure until real objects can be found Satisfying
the need. The principle of reality is worked through process
Secondary (secondary process), which is being realistic about the
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plan and Testing whether the plan produced the intended object.
Process The test is called reality test carried out appropriate action
With a factually realistic plan in mind.
3) Insecurity
Insecure is a feeling of anxiety, doubt, or lack of confidence that
makes a person feel insecure. As a result, insecure people may feel
jealous, always ask other people's opinions about themselves, or even
compare themselves to others.
Feelings of insecurity or insecurity are normal. However, in some
people, this feeling of insecurity occurs continuously. If these
feelings are not addressed, other disorders can arise, such as problems
with social relationships to work.
Causes of Insecure can occur because of having experienced
failure, getting bad judgment from people, or due to having a
perfectionist nature. Here is the explanation:
a. Experiencing failure or rejection
Often experiencing rejection, failure to achieve something, or
losing a job can make a person feel insecure. These events make
them see themselves and others from a negative perspective. Insecure
is also often experienced by people who have daddy issues.
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b. Getting bad ratings from other people
Insecurity can arise because they have been judged less or not
good by others when socializing. This condition causes someone who
is insecure to avoid social activities.
c. Not confident
Not self-confidence is a trigger factor for insecurity to occur.
When people don't believe in themselves, they will compare
themselves to others, then lower themselves. This triggers a sense of
insecurity in people because they always limit themselves to
expression.
The above factors can certainly be detrimental to mental health
for everyone, therefore insecurity is something that can make a
person mentally disturbed.
4) Pessimist
Pessimism can be interpreted as an attitude of giving up easily, not
being confident, and giving up before fighting. Pessimism is the
opposite of optimistic.Characteristics of a Pessimist:
a. Play it safe Pessimists usually play it safe to avoid problems. So they
do not have the courage to face challenges.
b. Feeling Worried The next characteristic is excessive worry in the
mind. Pessimists tend to worry about failure, loss, and defeat before
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starting. A pessimistic attitude makes a person less trying and keep
trying even though he fails.
c. Worrying about the Future A pessimistic attitude makes someone
think too much about the future. Generally, a person tends to be
afraid to get a better future. As a result of this pessimistic attitude
makes a person do not believe in their abilities.
d. Too Focus on Weaknesses A pessimistic attitude leads to excessive
thoughts and self-deprivation. Sometimes some people even think
about lacking and not being better than others.
e. Negative Thoughts Negative thoughts often arise when pessimistic.
Generally, individuals feel favored by this negative attitude.
f. Not Having a Fighting Spirit Pessimism is a negative attitude that
must be kept out of the mind. One of the characteristics of pessimism
is not having the spirit to fight to achieve dreams. A pessimistic
attitude makes a person lazy and less trying to achieve something.
g. Feeling Disturbed A person will be easily disturbed if they see other
people optimistic. They don't want to listen to other people's success
because they experience disappointment.
The cause of pessimism:
a. Depression and Mental Health A pessimistic attitude causes a
person's mental health. People who have this attitude over time think
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negatively and feel themselves a failure. Pessimism is believed to
interfere with a person's mental health. Negative thoughts such as
easily discouraged have an impact on mental health.
b. Decreased Body Health Conditions It turns out that a pessimistic
attitude can interfere with health and even cause disease. Health
conditions are not taken care of when a person thinks too much. The
pessimistic impact can lead to hypertension, obesity, heart problems,
to cholesterol.
5) Stress
According to Charles D. Speilberger, stress is defined as an
external demand on a person, such as an object in the environment or
an objectively harmful stimulus. Stress can also be interpreted as
pressure, tension, unpleasant disturbances that come from outside a
person (Jenita DT Donsu, 2017).
Mental stress can be caused by a variety of things that make you
nervous, angry, and deeply frustrated, for example after a divorce, the
death of a family or close friend, being laid off from work, or
experiencing frequent bullying.
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CHAPTER III
FINDING AND DISCUSSION
A. FINDING IN NOVEL AND SHORT STORY

1. Analysis Of “Kisah Sie Sie” Short Story By Tere Liye
a. Literature Elements
GENRE: FORMULA FICTION

MYSTERIES AND
-
THRILLERS
ROMANTIC ‘Janji itu luar biasa. Janji itu macam mercu suar
STORIES di pinggiran kota Taiwan, ia sungguh akan
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mencintai suaminya apa-adanya. Maka bulan-
bulan perawatan itu menjadi symbol paling agung
rasa cinta Sie. Tidak ada kebencian, tidak ada
penyesalan. Astaga, seandainya kita bisa melihat
wajah Sie saat merawat suaminya. Janji itu
sungguh luar biasa.’ [B1, P: 39]
‘Malam-malam rehabilitasi itu menjadi saksi saat

cinta Wong Lan tumbuh mekar. Cinta seorang
pemuda Taiwan yang terlambat lima belas tahun.
Benar-benar terlambat. Tapi tak mengapa, itu
tetap berakhir Bahagia, tidak mengurangi
nilainya.’ [B1, P: 40]
SERIES NOVEL -
The genre in the short story 'Kisah Sie Sie' is included in the fiction
formula: Romantic stories. Because when referring to the book of J. Lukens
(1999) this story makes the relationship between men and women
sentimental, which in this case is Sie and Wong Lan whose relationship is
told with various events in this story as in the table above.
THEME
EXPLICIT THEME -
IMPLICIT THEME Pengorbanan dan kesetiaan
‘Biarlah, Ma. Tidak mengapa. Dengan begini…
dengan begini Ma bisa sembuh. Kita punya uang
untuk makan. Adik-adik bahkan bisa sekolah.’
[B1, P: 29]
‘Janji itu luar biasa. Janji itu macam mercu suar

di pinggiran kota Taiwan, ia sungguh akan
bulan perawatan itu menjadi symbol paling agung
rasa cinta Sie. Tidak ada kebencian, tidak ada
penyesalan. Astaga, seandainya kita bisa melihat
wajah Sie saat merawat suaminya. Janji itu
sungguh luar biasa.’ [B1, P: 39]
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SECONDARY
-
THEME
The theme of the short story 'Kisah Sie Sie', namely sacrifice and
loyalty, is categorized as an implicit theme. This is based on Lukens' (1999)
statement regarding implicit theme which is a theme based on the view of the
reader because it is not stated precisely at every point in the story. However,
it can be interpreted based on B1, P: 29 and B1, P: 39 that events in the story
show how Sie's sacrifice to his family and marriage is told, as stated in.
CHARACTER
REVELATION OF CHARACTER
‘…Lima belas menit menatap jadwal
keberangkatan pesawat di bandara, Sie memilih
menjemput suaminya..’
BY ACTION
‘Berbulan-bulan Sie merawat suaminya dengan
tulus. Menemaninya melewati proses rehabilitasi
kecanduan..’ [B1, P: 38]
“Biarlah, Ma. Tidak mengapa. Dengan begini…

dengan begini Ma bisa sembuh. Kita punya uang
BY SPEECH
untuk makan. Adik-adik bahkan bisa sekolah.”
[B1, P: 29]
BY APPEARANCE ‘Dari tujuh anak mereka, adalah Sie Sie si anak
tertua yang tengah tumbuh menjadi gadis remaja
usia enam belas. Ia mekar menjadi kembang
daerah kumuh itu. Rambutnya panjang, tinggi
semampai, berkulit putih, berlesung pipit, dan
amboi manis sekali senyumnya.’ [B1, P: 23]
‘Rambut Sie yang dulu hitam legam mulai
beruban. Wajahnya yang dulu periang, mata sipit
bersinar-sinar, tinggal gurat muka penuh
ketabahan dan sorot mata tulus. Tubuhnya yang
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dulu ramping, tinggi semampai, sekarang
bungkuk, kaki pincang sisa pukulan-pukulan
kasar suaminya.’ [B1, P: 39]
“Dasar wanita pembawa sial!” Tidak sehari pun
BY OTHER'S dengusan semacam itu luput diterima Sie. Wong
COMMENT Lan tidak peduli perut istrinya semakin
membesar.’ [B1, P: 34]
‘Gadis itu pintar, rajin, dan tidak suka mengeluh.
BY AUTHOR
Sejak kecil sudah terbiasa membantu orang
COMMENT
tuanya.’ [B1, P: 23]
How the characterization of Sie is revealed through action, speech,
appearance, and also other's comments. Revelation of character by action can
be seen in B1, P: 38 which shows how Sie is loyal and sincere to her
husband. Then the revelation of character by speech is found in B1, P: 29,
when Sie talks to his mother about the paid marriage he chose as a way to
save his family. That's where Sie's sacrifice is drawn. As for B1, P: 23 and
B1, P: 39 is a revelation of character by appearance. How the physical
appearance of Sie's character since she was a beautiful teenager aged sixteen
and how her physical appearance changes after being in a paid marriage.
While revelation of character by other's comment, there is B1, P: 34 which
shows how her husband, Wong Lan, considers Sie an unlucky woman.
Because Wong Lan thought that the cause of the business bankruptcy and
ending him in prison was Sie. Then the last by Author's comment, found in
B1, P:23 about how Sie is described by the author as a girl who is smart,
diligent, and doesn't like to complain.
24
TYPES OF CHARACTER
FLAT CHARACTER -
‘Dua orang teman dekatnya, setahun silam juga
dipaksa kedua orangtua mereka menikah dengan
lelaki dari Hongkong.
Sie benci dengan pernikahan itu, sebenci ia
dengan kemiskinan dan kebodohan yang menjerat
mereka.’ [B1, P: 25]
‘Sie memutuskan mengambil pilihan yang tidak

pernah ia pikirkan sebelumnya. Pilihan yang
ROUND amat ia benci. Ia bersedia menjadi istri belian.’
CHARACTER [B1, P: 25]
‘Janji itu luar biasa. Janji itu macam mercu suar

di pinggiran kota Taiwan, ia sungguh akan
bulan perawatan itu menjadi symbol paling
agung rasa cinta Sie. Tidak ada kebencian, tidak
ada penyesalan. Astaga, seandainya kita bisa
melihat wajah Sie saat merawat suaminya. Janji
itu sungguh luar biasa.’ [B1, P: 39]
As stated by J. Lukens (1999) that a Round character is one that is
fully developed; we know this character well, because the many traits are
demonstrated in the action of the story. So the main character in the short
story 'Kisah Sie Sie', namely Sie, is a character who is experiencing
development. As Sie is described as a character who initially hates paid
marriages, he finally does this by promising that he will love his husband as
he is which leads to the proof of Sie's love that persists and fights for his
marriage.
25
PLOT
NARRATIVE ORDER
‘Berangkatlah Sie Sie ke sebuah hotel, tempat
pemuda dari Taiwan mencari istri. Ke sanalah
Sie Sie pergi, mendaftar menjadi calon istri
belian.’ [B1, P: 25]
‘Dan waktu berjalan cepat.

Wong Lan membawa Sie Sie ke Taiwan esok
paginya, lebih cepat lebih baik.’ [B1, P: 30]

CHRONOLOGICAL ‘Enam tahun berlalu. Bayi ketiga dan keempat
ORDES lahir, kembar. Lucunya tak terkira, amat
menggemaskan. Sia-sia, Wong Lan tetap tidak
peduli. Sekedar mengunjungi Sie di rumah sakit
pun tidak. Ia baru saja menggadaikan rumah
besar, harta terakhir warisan orangtuanya.
Bersenang-senang dengan tumpukan uang yang
dengan cepat menipis. Tinggallah Sie repot
mengurus empat anaknya, berusaha mencari
tempat berteduh sementara.’ [B1, P: 36]
FLASHBACK -
The narrative order used in this story is chronological orders where the
events in the story are told based on the order in which they occur and what is
proven at B1, P: 25, B1, P: 30 and B1, P: 36.
KINDS OF PLOT
PROGRESSIVE ‘Enam tahun berlalu. Bayi ketiga dan keempat
lahir, kembar. Lucunya tak terkira, amat
26

kecanduan.’ [B1, P: 38]
‘Di malam ke sekian masa-masa rehabilitasi,

ketika Wong Lan terjaga, saat ia menatap wajah
lelah istrinya yang jatuh tertidur di pinggir
ranjang, perasaan itu mulai tumbuh
kecambanya.’ [B1, P: 39]
EPISODIC -
The types of plot of this story reaches a climax and ends with a
resolution, the climax is proof at B1, P: 36, and the resolution is proof at B1,
P: 38 and B1, P: 39. So the types of plot of this story are progressive plot.
CONFLICT TYPES AND ROLES

PERSON AGAINST ‘Dua tahun itu, Sie menyibukkan diri. Belajar
PERSON menjadi istri yang baik. Melakukan apa saja yang
bisa ia kerjakan. Melayani suami sebaik
mungkin; menyiapkan baju, memasangkan dasi,
menyemir sepatu, berlarian membawa tas kerja,
menyiapkan makanan, merapikan tempat tidur.
Memasang wajah riang. Tidak peduli meski Wong
Lan melempar piring, mencaci masakannya.
Tidak peduli walau Wong Lan merenggut dasi
yang dipasangkan, menginjak tangannya saat
melepas sepatu. Sie sudah berjanji pada ibunya,
ia akan mencintai suaminya apa-adanya.’ [B1, P:
32]
‘Tabiat Wong Lan yang suka marah-marah dan

memukul kambuh. Siapa lagi yang bisa dicaci
27
dan dipukul seenak perutnya kalua bukan Sie-
Sie.’ [B1, P: 33]
‘Sie Sie memutuskan mengambil pilihan yang
tidak pernah ia pikirkan sebelumnya. Pilihan
yang amat ia benci. Ia bersedia menjadi istri
PERSON AGAINST
SELF ‘Dalam pertemuan lima belas menit itu, Sie
hanya sekali menatap wajah Wong Lan, dan
sekujur tubuhnya berontak. Ia hampir muntah
menahan rasa benci atas apa yang telah
dilakukannya.’ [B1, P: 27]
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
There are two types of conflict in this story, the first is person against
person in B1, P: 32 and B1, P: 33 which shows the contrast between
protagonist and antagonist through the conflict between Sie and Wong Lan.
Then the second type of conflict is person against self in B1, P:25 and B1,
P:27 which shows how Sie experiences conflict between himself and his
mind over his choice to have a paid marriage.
ACTION PATTERN
A SLANTING
-
UPWARD LINE
A HORIZONTAL
-
STRAIGHT LINE
A PEAK AND A Exposition
DOWNWARD SLIDE ‘Sejak Ibu mereka sakit, separuh penghasilan
keluarga hilang. Sialnya, masih harus ditambah
dengan pengeluaran baru, kebutuhan untuk
membeli berbagai obat yang tak kunjung
28
menyembuhkan. Semua beban itu jatuh pada Sie
Sie.’
‘Dan situasi semakin rumit saat Bapak mereka
dipecat dari pabrik tahu, ketahuan mencuri
brankas uang. Tidak tahan dengan kesulitan yang
ada, Bapak mereka mengambil jalan pintas.’ [B1,
P: 24]
‘Di tengah situasi darurat itu, di tengah kalut
pikiran, tidak ada tetangga, kerabat, atau sahabat
yang membantu, Sie Sie memutuskan mengambil
pilihan yang tidak pernah ia pikirkan
sebelumnya. Pilihan yang amat ia benci. Ia
bersedia menjadi istri belian.’ [B1, P: 25]
Rising Action
‘Berangkatlah Sie Sie ke sebuah hotel, tempat
pemuda dari Taiwan mencari istri. Ke sanalah
Sie Sie pergi, mendaftar menjadi calon istri
Situasi memburuk saat pernikahan memasuki
tahun ketiga. Bukan karena memang di tahun-
tahun itu rasa bosan, masalah, salah paham
lazim muncul bagi kebanyakan pasangan, tapi
karena pabrik tekstil kecil Wong Lan terkena
imbas krisis minyak tahun 80-an.
Tabiat Wong Lan yang suka marah-marah dan
memukul kambuh. Siapa lagi yang bisa dicaci
dan dipukul seenak perutnya kalau bukan Sie
Sie.’ [B1, P: 33]
The Climax
‘Enam tahun berlalu. Bayi ketiga dan keempat
lahir, kembar. Lucunya tak terkira, amat
29
Falling Action
‘Lantas apa yang dilakukan Sie atas kepergian
suaminya? Sie menghabiskan malam untuk
mencari suaminya. Ia lakukan itu tanpa alpa
semalam pun selama enam tahun. Bayangkan,
enam tahun. Tidak putus pengharapan. Tidak
mundur selangkah pun.’ [B1, P: 37]
‘Saat anak pertama mereka berusia dua belas,
kabar baik itu datang. Salah satu karyawan yang
disuruhnya mencari Wong Lan, akhirnya
melaporkan suaminya terlunta-lunta di
Hongkong. Kabar itu membuat hati Sie bungah.
Ia tak sabaran, memutuskan berangkat malam itu
juga ke Hongkong, menjemput suaminya.’ [B1, P:
37]
The Resolution
kecanduan.’ [B1, P: 38]
‘Di malam ke sekian masa-masa rehabilitasi,
ketika Wong Lan terjaga, saat ia menatap wajah
lelah istrinya yang jatuh tertidur di pinggir
ranjang, perasaan itu mulai tumbuh
kecambanya.’ [B1, P: 39]
The short story 'Kisah Sie Sie' has action patterns in the third pattern,
namely a line with a peak and a downward slide. Included in the third pattern
because the pattern of action in this story is in accordance with the statement
of J. Lukens (1999) that the third pattern of action is a more complex pattern.
Where the story rises to a climax or climax and then ends clearly. As can be
seen, the story begins with an exposition in B1, P: 24 and B1, P: 25 by
describing the situation and problems experienced by Sie's character at that
time. Then followed by rising action on B1, P: 25 and B1, P: 30, namely
30
when Sie started taking action for problems that naturally occurred in the
exposition section. Which is where Sie finally chooses to have a paid
marriage and decides to live together in her husband Wong Lan's home
country, namely in Taiwan. Until it reaches the climax when her husband's
business experiences unemployment, Wong Lan's torture of Sie, to Wong
Lan's actions of selling their house and abandoning Sie with her four
children. This can be seen in B1, P: 33 and B1, P: 36. Next is the falling
action section on B1, P: 37 and B1, P: 37 which shows how Sie's problems
began to subside and only the search for her husband remained. who also
finally found a bright spot. Until this story ends with a resolution on B1, P:
38 and B1, P: 39 when finally Sie returns with her husband and takes care of
him during the rehabilitation period until her husband begins to realize Sie's
sincerity and finally loves the woman.
SETTING
TYPES OF SETTING
‘Keluarga Han tinggal di pinggiran Singkawang-
daerah kumuh, tidak sedap dilihat, tidak enak
dicium. Jauh lebih baik gang sempit tepian
Kapuas milik kita.’ [B1, P: 23]
INTEGRAL
‘Di tengah situasi darurat itu, di tengah kalut
pikiran, tidak ada tetangga, kerabat, atau sahabat
yang membantu, Sie Sie memutuskan mengambil
pilihan yang tidak pernah ia pikirkan
sebelumnya.’ [B1, P: 25]
BACKDROP ‘Dengan menumpang oplet ia susah payah
31
membawa ibunya ke rumah sakit.’ [B1, P: 25]
‘Wong Lan membawa Sie Sie ke Taiwan esok

paginya, lebih cepat lebih baik.’ [B1, P: 30]
‘Salah satu karyawan yang disuruhnya mencari

Wong Lan, akhirnya melaporkan suaminya
ditemukan terlunta-lunta di Hongkong.’ [B1, P:
37]
The short story 'Kisah Sie Sie' uses both of the existing setting types,
namely integral setting and backdrop setting. Based on what J. Lukens
(1999) stated that an integral setting is an essential and specific setting that
influences character, plot, and theme. Meanwhile, backdrop setting is a
setting that is described in a generalized or relatively unimportant setting. So
B1, P: 23 and B1, P: 25 are concluded as integral settings because how the
setting of the place and atmosphere in that section is described specifically.
While B1, P: 25, B1, P: 30 and B1, P: 37 were concluded as backdrop
settings because they did not explain specifically about the setting of place or
time.
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
OMNISCIENT POINT
-
OF VIEW
LIMITED ‘Sie benci dengan pernikahan itu, sebenci ia
OMNISCIENT POINT dengan kemiskinan dan kebodohan yang menjerat
OF VIEW mereka.’ [B1, P: 25]
32
‘Sie menolak mentah-mentah, menggeleng tegas.
Ia sambal menahan air mata tumpah bilang
tentang janji hebat itu.’ [B1, P: 36]
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
The point of view in the short story 'Kisah Sie-Sie' uses a limited
omniscient point of view. Because based on J. Lukens (1999) limited
omniscient POV, in which the writer, again telling the story in third person,
concentrates on the thoughs, feelings, and significant past experience of only
the central character or protagonist. This is proven in B1, P: 25 and B1, P: 36
where the author uses the third person word by mentioning the name of the
character that concentrates on the protagonist character including the
thoughts and feelings of the protagonist character which in this case is Sie.
STYLE
‘Siapa lagi yang bisa dicaci dan dipukul seenak
CONNOTATION
perutnya.’ [B1, P: 33]
IMAGERY -
Simile
‘Siang-malam Sie tersiksa lahir-batin, macam di
terowongan gelap tanpa titik terang.’ [B1, P: 34]
FIGURATIVE
LANGUAGE Metaphor
‘Sayangnya, sejak usia tiga belas, kelakuan Wong
Lan jauh bumi jauh langit dari harapan orang
tuanya.’ [B1, P: 26]
HYPERBOLE -
UNDERSTATEMEN
-
T
33
ALLUSION -
SYMBOL -
PUNS AND
-
WORDPLAY
There are two types that used in the short story 'Kisah Sie Sie', namely
connotation and metaphor. B1, P: 33 is the use of style connotation because
the datum suggests an additional meaning for a word or expression, apart
from its explicit meaning. Then at B1, P: 34 is a simile that compares
‘tersiksanya Sie siang -malam’ by saying ‘macam (like) di terowongan gelap
tanpa titik terang’ as a description of 'the endlessness of Sie's torture'. It is
said to be a simile because the comparison is done using a ‘like’ conjunction.
Then B1, P: 26 is the use of a style metaphor because it directly compares the
sky and the earth without the use of 'as' or 'like'.
b. Character’s Mental Health

MENTAL HEALTH
MENTAL HEALTH Trauma
PROBLEM “Dasar wanita pembawa sial!” Tidak sehari pun
dengusan semacam itu luput diterima Sie. Wong
Lan tidak peduli perut istrinya semakin membesar.
[B1, P: 34]
‘Usia gadis itu dua puluh ketika masa-masa

siksaan fisik datang. Pagi ditampar, siang
dijambak, malam ditendang.’ [B1, P: 33]
‘Siang-malam Sie tersiksa lahir-batin, macam di

terowongan gelap tanpa titik terang. Bangun pagi
34
hanya untuk menjemput hari menyedihkan
berikutnya.’ [B1, P: 34]
‘Tangan Wong Lan gemetar menyentuh rambut

beruban Sie. Lihatlah, wajah teduh ini, wajah
penuh kasih-sayang istrinya. Ini tetap wajah yang
sama meski dulu ia lempar, ia injak. Wajah yang
sama meski dulu ia kutuk Wanita pembawa sial.
Wong Lan menangis dalam diam. Terisak dalam
sayap. Alangkah bodoh dirinya selama ini. Bodoh
sekali.’ [B1, P: 39]
As stated by (Wardani & Sudaryani, 2020) that in literary works, the
author expresses a problem faced by humans. So literary works cannot be
separated from the description of the problems of human life. It is the same
as in the short story 'Kisah Sie Sie' where the protagonist or Sie is
experiencing problems in his domestic life which lead to domestic violence.
It is from the problem of domestic violence that Sie in this story is
traumatized. When we talk about trauma, we mean not only how it relates to
a person's mental state but also to the person's physique. Because trauma
itself is also divided into two types, the first type is psychological trauma and
the second type is physical trauma. In B1, P: 33 shows how Sie received
physical violence such as being grabbed, slapped and even kicked. Even the
events that he constantly experiences, such as in B1, P: 34, are already
included in the cause of Sie's physical and psychological trauma. Because the
violence that Sie received did not only involve physical contact that resulted
in injury or physical suffering, but also the verbal abuse that Sie received as
35
in B1, P: 34 is also the cause of the psychological trauma experienced. So it
can be concluded that even though Sie is told to survive the violence she
received in her marriage, it does not mean that Sie is not traumatized.
Because an event that results in an injury can even damage a person's
mentality is already the cause of the traumatic effect experienced by a
person.
2. Analysis Of “Buat Apa Disesali” Short Story by Tere Liye
a. Literature elements
GENRE : FORMULA FICTION
MYSTERIES AND
-
THRILLERS
‘Kali ini Tigor menabalkan tekad,

kembali melamar Hesty. duhai, urusan ini
menyedihkan sekali, Papa Hesty menemui
Tigor pun tidak, dia hanya dingin bilang
ROMANTIC STORIES ke Hesty: "Jika kau sayang Papa, maka
kau akan mendengarkan Papa... Papa tidak
setuju kau menikah dengannya, jadi skrg
terserah kau!’ [B2, P: 198]
SERIES NOVEL -
According to Lukens (1999) Genre Romantic Series under
the guise of realism, romantic stories oversimplify and
sentimentalize male-female relationships, often showing them
as the sole focus of young life. to propose to Hesty and
36
still being rejected by Hesty's papa and Hesty's papa said
to Hesty if you love papa you will hear papa. We can see in
B2 P: 198
THEME
EXPLICIT THEME -
‘Usia 26, lulus dari kuliah diterima

bekerja di salah satu perusahaan
swasta yang baik Tigor akhirnya
setelah bertapa seminggu,
memikirkannya matang-matang, akhirnya
IMPLICIT THEME Tigor memberanikan diri melamar
Hesty. Waktu itu Papa Hesty di
ujung-ujung karier menterinya.
Diterima? tentu saja jauh asap dari
api. Ditolak mentah-mentah. Dihina
malah.’ [B2, P: 197]
SECONDARY THEME -
The theme of the short story “Buat Apa di Sesali” has
the theme of love does not arrive, be categorized as an
implicit theme. according to Lukens (1999), Implicit Theme, a
theme that is based on the reader's view because this theme is
not stated precisely at every point in the novel. In B3, P:
197. In this story, the characters Hesty and Tigor are
involved in a romance that started since childhood. They live
together. Hesty is the daughter of a state official and lives
37
in a big house, while Tigor is the son of Hesty's family maid
who lives in the very corner of the house with her mother and
father. Since childhood they were so close. Where there is
Hesty, there must be Tigor.
CHARACTER
‘Setelah kejadian malam itu, menurut

Hesty, dia berkali-kali datang ke rumah
Menteng; bertanya di mana Tigor?
bertanya di mana gerangan sepotong
hatinya. Tapi Bibi dan Mamang menggeleng
tidak tahu.. Hesty menangis, Hesty
memaksa ingin tahu... Tapi siapa yg tahu
dan akan memberi jawab? Bibi dan Mamang
tidak tahu, hanya menerima surat secara
berkala tanpa perangko yang tidak ada
BY ACTION
alamat pengirim, hanya menyisakan Hesty
yg frustasi, Hesty yg bingung, tidak
mengerti kenapa Tigor pergi begitu
saja... Meninggalkan hari-hari yg
sepi... Hari-hari yang menyesakkan..
hingga merubah rasa cinta itu menjadi
kebencian karena setelah dia berkorban
banyak hal, membujuk Papa-nya tak lelah
bertahun2, Tigor-lah yg justru pergi
tanpa berita.’ [B2, P: 201]
BY SPEECH ‘mbak Hesty terdiam lamaaa, hingga
akhirnya menjawab: "Sy lbh membenci diri
sendiri karena terlalu takut utk pergi
bersama Tigor... Papa membesarkan kami
keras sekali.. Penuh disiplin.
Menanamkan pemahaman apapun yg kami
lakukan akan mengundang sebab-akibat
hidup.. seharusnya saat itu sy memahami,
jangan2 Papa keras soal Tigor, agar sy
38
benar2 yakin apakah Tigor adalah pilihan
terbaik buat saya.. bukan sebaliknya,
menghalangi kami seperti yg selama ini
sy pahami.. jangan2 Papa keras soal
Tigor, hanya utk melihat seberapa yakin
saya atas keputusan yg sy lakukan... tp
mau dikata apa? itu sudah terjadi... 20
tahun silam’ [B2, P: 204-205]
‘Hesty, gadis kecil dgn rambut ikal,
mata hitam bundar, dan wajah
BY APPEARANCE
menggemaskan itu selalu ada.’ [B2, P:
192]
BY OTHER'S COMMENT -
BY AUTHOR COMMENT -
In the by-action character Hesty here is disappointed in
Tigor because he broke his promise to continue together.
Hesty kept looking for Tigor but all he got was information
from Tigor's mom and dad who were none other than Hesty's
assistants that Tigor went somewhere, only letters came
periodically from Tigor without a mailing address until the
affection turned into hatred, it was mentioned in B2 P:201 In
B2 P:204-205 from the words mentioned in the end, Hesty
regretted that she had heard too much of her father's words
which forbade her to have contact with Tigor but on the one
hand Hesty thought that her father was strict with her about
Tigor's problem, maybe because he wanted to make Hesty believe
39
that Tigor was really the best choice for him instead of on
the contrary preventing him from being with Tigor. In B2 P:
192, Hesty's appearance as a child is explained, namely, round
curly hair and adorable face.
TYPES OF CHARACTER
FLAT CHARACTER -
‘Hesty terdiam lama, hingga akhirnya

menjawab: “Saya lebih membenci diri
sendiri karena terlalu takut untuk pergi
bersama Tigor… Papa membesarkan kami
keras sekali. Penuh disiplin .
hidup.. seharusnya saat itu saya
memahami, jangan-jangan Papa keras soal
Tigor, agar saya benar-benar yakin
ROUND CHARACTER apakah Tigor adalah pilihan terbaik buat
saya.. bukan sebaliknya, menghalangi
kami seperti yang selama ini saya
pahami.. jangan jangan Papa keras soal
saya atas keputusan yang saya lakukan…
tapi mau dikata apa? Itu sudah terjadi…
20 tahun silam.’
[B2, P: 204-205]
Types of character from the short story “Buat Apa di
Sesali” are round characters. This is based on Lukens's
40
(1999) statement that round characters are fully developed
characters, meaning we know a lot about characters; readers
may even be able to anticipate the actions of round characters
if the characterizations are carried out well and
consistently. As in the character of Hesty, who was initially
too obedient to his father's orders, he eventually regretted
it B2 P :204-205
PLOT
NARRATIVE ORDER
CHRONOLOGICAL ‘Usia 26, lulus dari kuliah, diterima

ORDER bekerja di salah satu perusahaan swasta
yang baik, tigor akhirnya setelah
bertapa seminggu, memikirkannya matang-
matang, akhirnya memberanikan diri
melamar Hesty. Waktu itu, Papa Hesty
diujung2 karir menteri-nya. Diterima?
tentu saja jauh asap dari api. Ditolak
mentah-mentah. Dihina malah. "Kau tidak
menjadi layak hanya karena sarjana,
punya pekerjaan bagus, atau terkenal
sekali sering menulis di koran-koran.
Keluarga kita tetap berbeda jauh." Papa
Hesty menjawa dingin. Maka meledaklah
masalah tersebut. Hesty menangis.
Membenci Papa-nya. Bersumpah akan kabur
dr rumah. Tigor pulang dengan wajah
sendu. Kali ini Bibi dan Mamang yg
semakin sepuh hanya bilang: "Nak, tahu
dirilah siapa keluarga kita." [B2, P:
41
197-198]
‘Dan jahitan luka lama itu terbuka
kembali. Lebih lebar dan lebih dalam.
Hesty malam itu sepertinya benar2 akan
pergi dr rumah.. apalagi Tigor dgn wajah
bersungguh2, meminta "janji itu"
dipenuhi.. janji saat mereka sering
bersepeda dulu: "aku akan ikut kemana
kau pergi..." Tapi tidak, Hesty tidak
bisa meninggalkan Papa-nya yg sakit2an.
"Bersabarlah, Tigor... aku mohon.."
Hesty meneguhkan hati; dia akan kembali
membujuk Papa-nya. Bersabarlah, dia
tidak akan menyerah. Mereka sudah
berjanji bahkan sejak kecil, sejak
mereka juga belum tahu apa itu perasaan
cinta. Ah, apa lagi yg bisa dilakukan
Tigor selain menunggu? Tidak mungkin dia
membiarkan Hesty menyakiti Papa-nya’.
[B2, P: 198-199]
FLASHBACK -
In B2 P: 197-198 it is stated that when he was 26 years
old, Tigor got a job in a good private company when he
graduated from college. And Tigor thought carefully for a
week to dare to propose to Hesty but what can he say, Tigor
was rejected outright by Hesty's papa and even Tigor got
insulted. After that incident Hesty burst into tears and hated
his papa and he swore to run away from home. explained in B2
P: 198-199 That night Hesty really thought about running away
from home, but she didn't want to hurt her father's heart.
42
KINDS OF PLOT
PROGRESSIVE ‘Tapi urusan mereka benar2 berjalan di

luar rencana enam bulan kemudian. Bukan
karena Tigor kebetulan mendapatkan
kesempatan dinas belajar, kursus singkat
di London tahun 1987 selama 4 bulan.
Jarak tdk pernah berhasil memisahkan
mereka.. Tapi karena saat Tigor kembali
dari kursus itu, empat bulan kontak
dengan Hesty terhenti, dia justeru
menemukan amplop tebal berisi setumpuk
foto2 dan selembar surat di meja
kerjanya. Itu foto2 pernikahan Hesty di
Bandung. Dan isi selembar surat itu
pendek saja: "Maafkan aku, Tigor.. aku
sudah menikah.’
Seperti gila, Tigor berangkat menuju
rumah besar keluarga Hesty. Muka riang
itu terlihat pucat dan marah sekali..
Ingin rasanya dia langsung berteriak-
teriak marah.. Bukankah mereka sudah
berjanji akan sabar satu sama lain? Apa
maksud pernikahan gila tersebut?
Bagaimana mungkin? Empat bulan dia pergi
ke London, Hesty menikah. Tapi seruan
tertahan Tigor tidak keluar, ekspresi
kemarahan itu justeru terhenti, karena
persis ketika Tigor tiba, rumah Hesty
dipenuhi oleh siluet hitam dan
kesedihan. Papa Hesty semalam meninggal,
old soldier itu telah pergi selama-
lamanya. Rumah itu dipenuhi pelayat
(yang otomatis adalah pejabat2
pemerintah); siapa yg peduli dgn Tigor
jika di rumah itu sedang ada penguasa
no.1 di Indonesia?’ [B2, P: 199-200]
‘Siang itu juga Tigor mengambil
keputusan super-ekstrem. Dia berpamitan
kepada Bibi dan Mamang. Dia akan pergi.
43
Jauh. Ribuan mil, dan semoga semua
kesedihan hatinya bisa hilang
sejengkal.’ [B2, P: 200]
"Ya. Persis enam bulan setelah Bibi
meninggal, Tigor datang. Kabar
meninggalnya Bibi tiba di tempat
tinggalnya, entah bagaimana caranya
kabar itu didengarnya.. Dia selama ini
ternyata tinggal di London." *mbak Hesty
tertawa pelan, sambil menyeka matanya yg
berkaca2, "Tigor datang ke rumah di
Menteng. Bersama istri dan dua anaknya.
Istrinya bule, anak2 yg lucu. Satu
berumur 9 tahun, satu masih 3 tahun. Aku
puluhan tahun, setiap hari tidak pernah
berhenti berharap menunggu saat-saat
bertemu dengannya.. Tapi pertemuan itu
kaku sekali, terasa ganjil... Hingga
kami bertemu, dia tdk pernah tahu kalau
aku tdk pernah menikah.’ [B2, P: 204]
EPISODIC -
After four months of coursework in London, Tigor
couldn't wait to go home to Hesty. But instead he found an
envelope of Hesty's wedding photos in Bandung and a small
letter containing the words "Sorry Tigor, I'm married." At
that time Tigor immediately visited Hesty's extended family
home. with a cheerful face immediately turned pale Tigor felt
like screaming and getting angry but instead his anger was
44
restrained because he actually found Hesty's papa died. It is
explained in B2 P: 199
At B2 P: 200 at that time Tigor disappeared in the
engulf of the world for up to 18 years. And at B2 P: 204 he
finally returned after 6 months of the death of Tigor's mother
and at that time Tigor came home with his wife from London and
their children.
Hesty can only regret why she didn't run away with Tigor
before because she just thought that Hesty's papa strictly
forbade Hesty and Tigor to have sex just to convince Hesty
that Tigor was really the best choice for Hesty. Mentioned in
B2 P: 204-205.
‘Jika kau sayang Papa, maka

kau akan mendengarkan Papa…
PERSON AGAINST
Papa tidak setuju kau menikah
PERSON
dengannya, jadi skrg terserah
kau!” [B2, P: 198]
PERSON AGAINST Sy lbh membenci diri sendiri

SELF karena terlalu takut utk
pergi bersama Tigor... Papa
membesarkan kami keras
sekali.. Penuh disiplin.
Menanamkan pemahaman apapun
45
yg kami lakukan akan
mengundang sebab-akibat
hidup.. seharusnya saat itu
sy memahami, jangan2 Papa
keras soal Tigor, agar sy
benar2 yakin apakah Tigor
adalah pilihan terbaik buat
saya.. bukan sebaliknya,
menghalangi kami seperti yg
selama ini sy pahami..
jangan2 Papa keras soal
Tigor, hanya utk melihat
seberapa yakin saya atas
keputusan yg sy lakukan... tp
mau dikata apa? itu sudah
terjadi... 20 tahun
silam…’ [B2, P: 204-205]
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
Conflict types and roles of the short story “Buat Apa
di Sesali”, namely person against person This is based on
Lukens' (1999) statement regarding Person Against Person,
where two (or more) characters are in conflict. Where Hesty
begged his papa to be blessed with Tigor but Hesty's papa
still refused and said if you love papa you will obey papa's
orders. Mentioned in B2 P: 198
46
The conflict types and roles of the short story “Buat
Apa di Sesali” is person against self. This is based on
Lukens' (1999) statement regarding Person Against Self in
which the character faces internal struggles or himself. It
is listed in B2 P: 204-205 where Hesty is disappointed with
herself, too obedient to her father to have a relationship
with Tigor which in the end leads to regret.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING UPWARD -
LINE
A PEAK AND A Exsposition

DOWNWARD SLIDE
‘Hesty dan Tigor lahir di hari yg sama,
tahun 1960, masa-masa Soekarno dan
bangsa ini ribut tentang jargon nasakom.
Mereka lahir nyaris di waktu yg juga
hampir bersamaan; bedanya, Hesty
dilahirkan di RS Cipto dibantu dokter-
dokter yg hebat, sementara Tigor
dilahirkan di kampung dibantu dukun
beranak sekitaran Cikini.
Mereka juga tinggal satu rumah, satu
atap. Bedanya, Hesty tinggal di lantai
dua dengan kamar besar, bertirai sutera,
berlantai parquet jati. Sedangkan Tigor
tinggal di sudut paling pojok rumah itu
di kamar sempit, sekamar dengan Emak dan
Bapaknya.’ [B2, P: 192]
‘Usia 26, lulus dr kuliah, diterima
47
bekerja di salah-satu perusahaan swasta
yang baik, Tigor akhirnya setelah
bertapa seminggu, memikirkannya matang-
matang, akhirnya memberanikan diri
melamar Hesty. Waktu itu, Papa Hesty
diujung2 karir menteri-nya. Diterima?
tentu saja jauh asap dari api. Ditolak
mentah-mentah. Dihina malah. "Kau tidak
menjadi layak hanya karena sarjana,
punya pekerjaan bagus, atau terkenal
sekali sering menulis di koran-koran.
Keluarga kita tetap berbeda jauh." Papa
Hesty menjawa dingin. Maka meledaklah
masalah tersebut. Hesty menangis.
Membenci Papa-nya. Bersumpah akan kabur
dr rumah. Tigor pulang dengan wajah
sendu. Kali ini Bibi dan Mamang yg
semakin sepuh hanya bilang: "Nak, tahu
dirilah siapa keluarga kita." [B2, P:
197-198]
Rising Action
‘Tapi urusan mereka benar2 berjalan di
pendek saja: “Maafkan aku, Tigor.. aku
sudah menikah’ [B2, P: 199)
The Climax
‘Seperti gila, Tigor berangkat menuju
rumah besar keluarga Hesty. Muka riang
itu terlihat pucat dan marah sekali..
48
Ingin rasanya dia langsung berteriak2
marah.. Bukankah mereka sudah berjanji
akan sabar satu sama lain? Apa maksud
pernikahan gila tersebut? Bagaimana
mungkin? Empat bulan dia pergi ke
London, Hesty menikah’ [B2, P: 199]
Falling action
‘Fakta ini baru diketahui Hesty enam
tahun silam; tahun 2006; Saat Bibi
meninggal, saat menemukan setumpuk foto2
pernikahan dan selembar surat itu di
kamar sempit tersebut.. Hesty akhirnya
mengerti kenapa Tigor raib dari
kehidupannya... Hesty akhirnya tahu
kenapa dia harus menghabiskan malam
selama belasan tahun hanya duduk di
teras lantai dua kamarnya.. menatap ke
halaman saat hujan deras.. seperti bisa
melihat Tigor kecil yg menggigil
kehujanan karena dihukum’
[B2, P: 202-203]
The Resolution
‘Saya: "Apakah mbak Hesty akhirnya
bertemu dgn Tigor?"
Hesty: "Ya. Persis enam bulan setelah
Bibi meninggal, Tigor datang. Kabar
meninggalnya Bibi tiba di tempat
tinggalnya, entah bagaimana caranya
kabar itu didengarnya.. Dia selama ini
ternyata tinggal di London." *mbak Hesty
tertawa pelan, sambil menyeka matanya yg
berkaca2, "Tigor datang ke rumah di
Menteng. Bersama istri dan dua anaknya.
Istrinya bule, anak2 yg lucu. Satu
berumur 9 tahun, satu masih 3 tahun. Aku
puluhan tahun, setiap hari tidak pernah
berhenti berharap menunggu saat-saat
bertemu dengannya.. Tapi pertemuan itu
kaku sekali, terasa ganjil... Hingga
49
kami bertemu, dia tdk pernah tahu kalau
aku tdk pernah menikah."
Saya: "Apakah mbak Hesty menyesali apa
yg telah terjadi?"
Hesty: *mbak Hesty tertawa pelan,
menggeleng.. "dua puluh lima tahun sy
menghabiskan masa2 yg indah bersama
Tigor? Masa kanak-kanak, kuliah, surat-
surat itu. Dua puluh lima tahun,
seperempat abad, apa yg harus sy
sesalkan? skrg umur sy lewat lima puluh,
dua puluh tahun lg hidup dgn mengenang
masa lalu itu sj sudah cukup
menyenangkan, bukan."
Saya ikut tertawa. itu point yg bagus:
"Apakah mbak Hesty membenci Papa?"
A: *mbak Hesty terdiam lamaaa, hingga
akhirnya menjawab: "Sy lbh membenci diri
sendiri karena terlalu takut utk pergi
bersama Tigor... Papa membesarkan kami
keras sekali.. Penuh disiplin.
hidup.. seharusnya saat itu sy memahami,
jangan2 Papa keras soal Tigor, agar sy
benar2 yakin apakah Tigor adalah pilihan
terbaik buat saya.. bukan sebaliknya,
menghalangi kami seperti yg selama ini
sy pahami.. jangan2 Papa keras soal
saya atas keputusan yg sy lakukan... tp
mau dikata apa? itu sudah terjadi... 20
tahun silam’ [B2, P: 204-205]
50
The action pattern from the short story “Buat Apa di Sesali” is An
upward slanting line, according to Lukens (1999) namely An upward slanting
line is the first pattern of moving from one incident to another related
incident, built on discovery, and changing towards a final climax which takes
the action to the top and ends there. According to this short story, it consists
of an exposition at the age of 26 Tigor ventured to propose to Hesty described
in B2 P: 197 followed by a rising action when Tigor went to Hesty's house he
instead got an envelope containing Hesty and Hesty's wedding photos. a letter
that reads 'I'm sorry Tigor I'm married' B2 P :199 and the climax Tigor went
straight to the family house with anger at B2 P: 199 and followed by falling
action in 2006 then Hesty found out why Tigor disappeared because of
wedding photos and a letter that Tigor got when he just got home from
London at B2 P: 202 and finally the resolution at the first meeting that was
rigid for 18 years Tigor disappeared felt odd and Tigor never knew that Hesty
never married is listed on B2 P : 204.
SETTING
TYPES OF SETTING
INTEGRAL ‘Rumah Hesty di Menteng –“Nona muda

Hesty sendiri yang justru sambil nyengir
berteriak di luar kamar sempit itu
“Hesty dihukum tidak boleh keluarkamar
selamga tiga hari. Sedangkan di kamar
sempit, Tigor dihukum maknya tidur
dikursi luar selama seminggu, bersama
nyamuk, kena tampias hujan.’ [B2, P:
51
193]
‘Stasiun Manggarai –“Tigor bergegas
dengansepedanya menuju Stasiun
Manggarai, sengaja menunggui kereta itu
lewat di sana. ... Kepala Hesty melongok
keluar dari jendela gerbong.’ [B2, P:
194-195]
‘Pertama ketika Hesty dan Tigor pulang
kemalaman bersepeda”, “Maka malamitu
Hesty dijewer Papanya”, “Malam itu
hujan turun deras. Hesty menangis
mengintip dari teras lantai dua [B2,
P:193]
“Siang itu juga Tigor mengambil
keputusan superekstrem [B2, P: 200]
‘Suasana duka –“Ekspresi kemarahan
itu justru terhenti karena persis ketika
Tigor tiba, rumahHesty dipenuhi oleh
siluet hitam dan dipenuhi kesedihan.
Papa Hesty semalam meninggal.’ [B2,
P: 199]
‘Kesal –“Siang itu juga Tigor
mengambil keputusan super-ekstrem. Dia
berpamitan kepada Bibi dan Mamang. Dia
akan pergi. Jauh. Ribuan mil, dan semoga
semua kesedihan hatinya bisa hilang
sejengkal [B2, P: 200]
BACKDROP -
The setting of the short story “Buat Apa di Sesali” is
Integral. According to Lukens (1999) Integral setting is a
setting that points to a certain place and period of time
52
a. Place Settings
Hesty's house, when Hesty and Tigor were punished
for breaking Hesty's father's camera B2 P: 194
Manggarai Station, located at B2 P: 194 when Tigor
rushed to the Manggarai station to see Hesty leaving
b. Time Setting
At night, when Tigor and Hesty came home late at
night cycling at B2 P: 193 Daylight, At the time tigor
decided to go away thousands of miles in B2 P : 200
c. Atmosphere Settings
Sad atmosphere, when tigor came to the house of
Hesty's extended family and found Papa Hesty dead B2
P:199 Upset, By the time tigor decided to go a thousand
miles away at B2 P : 200
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
OMNISCIENT ‘Kali kedua, dan ini juga fatal sekali,

POINT OF VIEW saat Hesty dan Tigor mencuri curi peralatan
kamera papanya. Lantas menggunakannya untuk
foto-foto.Itu barang langka tahun 60-
an,hdiah istimewa dari Duta Besar Inggris.
Kamera itu rusak.Maka malam itu Hesty di
53
jewer papanya. Tigor? Ditampar
bapaknya.”Kau membuat nona muda
menangis,hah.Kau pikir kau bisa seenak
perut masuk ke kamar tuan? “Belum lagi
hukuman tambahan. Bukan sekedar tidur di
kursi, Mak Tigor kali ini menyuruh Tigor
berdiri di halaman rumah hingga subuh.’
[B2, P: 194]
LIMITED
OMNISCIENT -
POINT OF VIEW
OBJECTIVE
(DRAMATIC) -
POINT OF VIEW
The story why regret using the third-person omniscient
point of view is proven in B2 P: 194 when Hesty and Tigor were
scolded by their respective parents because they both damaged
Papa Hesty's camera which was given by the British ambassador.
STYLE
CONNIOTATION -
“mencari potongan hatinya” [B2, P:

IMAGERY
201]
FIGURATIVE
-
LANGUAGE
HYPERBOLE -
UNDERSTATEMENT -
ALLUSION -
54
SYMBOL -
PUNS AND WORDPLAY -
The style of the short story “Buat Apa di Sesali” is
Imagery According to Lukens (1999) Imagery is an appeal to all
the senses, it helps create a setting, build a mood, or show
character. In B2 P: 201 I got one quote namely "looking for a
piece of his heart" which means the parable of looking for a
lover
MENTAL HEALTH
MENTAL HEALTH Broken heart

PROBLEM
‘Tapi urusan mereka benar2 berjalan di
pendek saja: "Maafkan aku, Tigor.. aku
sudah menikah.” [B2, P: 199]
‘Siang itu juga Tigor mengambil
keputusan super-ekstrem. Dia berpamitan
kepada Bibi dan Mamang. Dia akan pergi.
Jauh. Ribuan mil, dan semoga semua
55
kesedihan hatinya bisa hilang sejengkal.
Delapan belas tahun berlalu.. Tigor
sempurna hilang ditelan gempita dunia..
meninggalkan jendela kaca yg semakin
kusam.. rumput halaman yg meninggi dan
menjadi belukar.. langit2 rumah yg
dipenuhi bintik hitam tampias air... dan
di atas itu semua, Tigor sempurna sudah
meninggalkan Hesty.’ [B2, P: 200]
The mental health of the short story “Buat Apa di
Sesali” is a broken heart, where when Tigor came home from
London he found photos of Hesty's wedding and a letter on B2
P: 199. And that same day Tigor decided to go far away. Hesty
is found in B2 P: 200. 18 years later Tigor is never heard
from again and he completely leaves Hesty in B2 P: 200.
3. Analysis Of “Senyum Palsu” Short Story By Wahyuni
GENRE: REALISM
REALISTIC ‘mama sering mendatangkan kelinci kerumah.
STORIES Dan tak jarang kelinci yang mama bawa itu
membuat aku terperangah karena penampilannya
terlihat persis dengan foto bapak presiden yang
selama ini tak pernah absen terpajang di depan
kelas, berjas, lengkap dengan dasi yang mengikat
di lehernya.
tentu saja kelinci spesies ini bukan kelinci
sembarang kelinci. aku membatin.’ [B3, P:18]
56
“Dasar anak b*angsat! Anak s*tan! Anak tidak
tahu di untung! Mestinya kau tidak usah terlahir
dari rahimku! Anak s*tan!” [B3, P:20]
-
ANIMAL REALISM
HISTORICAL
-
REALISM
-
SPORT STORIES
Realistic stories are a genre that tells about stories that may occur in
the real world and the conflict is related to person or social and this story
often occurs in the real world where a mother abandons her child because
she does not want the child's presence, because the child is the result of an
illicit relationship with her. foreign man. It can be seen on the B 3, P: 18 and
20.
THEME
EXPLICIT THEME -
patience
‘apakah Mama sedang tersenyum? Ah,
tidak. Mungkin aku salah lihat. tidak
yakin, kucoba mengedip-ngedipkan mata
berkali-kali. lalu kulihat lagi. iya
IMPLICIT THEME
betul, mama tersenyum. senyumannya
mengarah kepadaku. aku serasa tenggelam,
tenggelam ke dalam lautan senyum mama,
lalu melayang, senyum yang selama ini
dinanti-nantikan’ [B3, P:25]
SECONDARY
-
THEME
57
The theme of the short story “Senyum Rahasia” is patience, this is
categorized as an implicit theme. This is based on Lukens's (1999) statement
regarding the implicit theme which is a theme based on the reader's view
because it is not stated precisely at every point in the story and can be
interpreted based on events in the story that show how this beautiful figure
finally reaped the rewards of his patience to be recognized by his mother as
stated on B3, P:25
CHARACTER
“Mama ke mana?” mataku mencari. Mama
sudah tidak ada di tempatnya tadi. aku
cemas, sebelum kemudian berubah menjadi
panik. sangat panik. tiba-tiba saja aku
BY ACTION
teringat peristiwa beberapa tahun silam
ketika, Mama mencoba mengakhiri hidupnya
dengan mengkonsumsi obat penenang
melebihi dosis.’ [B3, P:19]
‘telingaku memang sudah kebal mendengar
ungkapan-ungkapan seperti itu..’ [B3,
P:20]
“heh, anak dekil, pasti belum mandi,
ya? sergap salah satu siswa yang mengaku
BY SPEECH dirinya adalah anak pejabat.”
“Hahahaha,” suara tawa dari siswa lain

langsung mendesak.
Kumenggeleng dan lekas pergi menuju

ruang kelas.’ [B3, P:21-22]
BY APPEARANCE ‘seperti biasa, lirikan sinis dari para
siswa menggerogoti. entah apa yang salah
58
dari diriku. aku sendiri bingung.
heh, anak dekil, pasti belum mandi, ya?

sergap salah satu siswa yang mengaku
dirinya adalah anak pejabat.’ [B3,
P:21]
‘dasar anak b*ngsat! anak s*tan! Anak

BY OTHER'S
tidak tahu diuntung! Mestinya kau tidak
COMMENT
usah terlahir dari rahimku!’ [B3, P:20]
BY AUTHOR
-
COMMENT
How is the character action, speech, Appearance and
Other comments in the story "Senyum Rahasia" is shown. with
action, Ayu is a child who easily cares and worries for her
mother. It's listed in B3, P:19 when her mother wasn't in the
room, she immediately panicked, afraid that something bad
would happen to her mother. This is in line with Lukens theory
which states that action is how the attitude or behavior of a
character can tell whether the character is good or bad. With
words, when Ayu is alone
Said that she was immune to all the insults and hate
speech her mother said as stated in B3, P: 20-22 it can be
concluded that Ayu is an indifferent person and doesn't care
what other people say to her, as Lukens' theory states that
characters speak in ways that can provide insight to the
59
reader. next Based on appearance, ayu is not explained by the
author how she looks and ayu herself does not mention what her
physical appearance is, but in B3, P:21 some students explain
what ayu looks like even though it's only briefly. Lastly,
Another Comment. In B3, P:20, Ibu Ayu comments on how Ayu is a
burden in her life and never expected her to be a child, such
as Lukens theory which states that other people's comments are
how other characters behave or channel their feelings towards
the main character.
TYPES OF CHARACTER
FLAT CHARACTER -
‘perlahan dan takut kuulurkan tangan
mengibas rambut Mama yang kusut,
membetulkan selimutnya dan mecium
keningnya…’ [B3, P:21]
"Hey, mencuri ya? tiba-tiba segerombolan

siswa mengagetkan.
"Ah, tidak, tidak" belaku terus memeluk
ROUND Bapak presidenku
CHARACTER "Itu apa?" sambil mencoba meraih isi
pelukanku.
Tanpa pikir panjang aku memutuskan lari
menjauh meninggalkan gerombolan siswa
tadi. mereka juga ikut lari mengejar.
tak mau kalah dan tak mau Bapak
presidenku direbut, aku berlari kencang.
semakin kencang dan "PRAAAK" [B3, P:23]
60
The type of character in the short story "Senyum
Rahasia" is a round character. Lukens theory states that a
round character is a character who has experienced a lot of
development in the story and the reader knows a lot about the
character and this is in line with B3, P:21 and B3, P:23 which
show that Ayu, who was previously afraid but dared to approach
her mother to fix it. blanket and kissed his mother's
forehead.
PLOT
NARRATIVE ORDER
CHRONOLOGICAL ‘suasana sekolah sudah mulai tampak
ORDES hening. kuberanjak untuk mengambil bapak
presiden dan segera membawanya
pulang…’
[B3, P:22]
‘Hey, mencuri mencuri ya?” tiba-tiba

segerombolan siswa mengagetkan
“Ah tidak, tidak” belaku terus memeluk
Bapak presidenku
“itu apa?” sambil mencoba meraih isi
pelukanku’ [B3, P:23]
‘tanpa pikir panjang aku memutuskan

lari menjauh meninggalkan gerombolan
siswa tadi. mereka juga ikut lari
mengejar. tak mau kalah dan aku tak mau
Bapak presidenku direbut, aku berlari
kencang semakin kencang dan
“PRAAAK!!!”
‘…pintu terbuka pelan
61
“ayu, bangun Nak! Bangun sayang! Mama
di sini.
Ayu, maafkan, mama ya sayang. maafkan
Mama!”
kubuka mata perlahan, “Mah!” ucapku
lirih
“Iya sayang, Mama di sini”
Ada yang beda dari mama. apakah Mama
sedang tersenyum? Ah, tidak. mungkin aku
salah lihat. tidak yakin, ku coba
mengedip ngedipkan mata berkali-kali.
lalu kulihat lagi. Iya, betul mama
tersenyum. senyumnya mengarah kepadaku.
Aku merasa tenggelam, tenggelam kedalam
lautan senyum mama, lalu melayang.
Senyum yang selama ini di nanti-
nantikan.’ [B3, P:25]
FLASHBACK -
The type of narrative order in "Senyum Rahasia" is Chronological
order. Ayu, who intends to take a photo of the president to take home,
becomes the beginning of the conflict in the story as stated in B3, P:22 then
on B3, P:23 becomes the climax point in the story when Ayu is caught
taking a photo of the president and she tries to run away from the students.
another but terrible incident happened and the resolution in this story is seen
in B3, P:25 where he was finally taken to the hospital then the mother came
to see the condition of her child but when she found out about her child's
condition she immediately felt guilty for her attitude towards ayu all this
time, her mother asked sorry to ayu sincerely.
62
KINDS OF PLOT
‘akhirnya sadar berada di rumah
sakit karena kecelakaan itu. Dari
balik pintu terdengar samar suara
mama yang tengah berbicara dengan
seorang laki-laki’
[B3, P:23]
“sepertinya bukan hanya sekedar

kecelakaan itu saja, Bu,” suara
laki-laki lawan bicara Mama
seketika naik.
“maksud dokter?”
“Iya, ternyata anak ibu juga
sudah lama terserang…”
“ terserang apa Dok?” Mama
PROGRESSIVE semakin menekan tun suaranya.
“Aaa..IDS” jawab dokter gagap.
aku terhentak. kepala batinku jatuh
dan menangis. sangat keras.
terlihat hanya gelap, seketika
terbayang Mama beserta kelincinya.
“Hah, tidak, ini tidak mungkin.
dokter pasti salah. cukup sudah
anakku kehilangan kedua kakinya.
Cukup.” Suara mama semakin jelas.
vibranya pecah akibat Isak. nadanya
naik, ia menangis. kehilangan kedua
kakinya? maksud Mama siapa? Aku?
kulirik kakiku yang terbalut
selimut. kucoba mengangkat tapi
terasa berat. berat dan sakit
sekali. Sakit.’ [B3, P:24]
EPISODIC -
Kinds of plot in this story is progressive because Ayu, who was
already in the hospital, overheard her mother's conversation with the doctor
and then the doctor said that Ayu had AIDS and that shocked Ayu's mother
63
and couldn't believe what was happening to her child, this can be seen in B3,
P:23-24.

“ada apa kau mencariku?” tegurnya
tanpa melirik. suara kedengaran parau.
“Anak b*ngsat,” desisnya kemudian,
samar, tapi aku mendengarnya
“An… anu mah, aku hanya khawatir saja
dengan kondisi Mama”
PERSON AGAINST
“sudahlah, tidak usah
PERSON
mengkhawatirkanku.” sergahnya datar.
aku hanya dia menunduk.
“sudah sana masuk!” suaranya yang
parau terdengar menyeramkan.’ [B3,
P:20]
PERSON AGAINST -
SELF
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
Person again person become conflict types and roles in this story. Ayu
has a conflict with her mother where Ayu feels that she is not considered
and hated by her own mother but she persists because of her devotion to her
mother, this is proven in B3, P:20, this is in line with the definition of
conflict person again person where two or more characters are in conflict.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING -
64
UPWARD LINE
A PEAK AND A Expositon
DOWNWARD SLIDE ‘Kulangkahkan kaki pelan menuju kamar mama
yang letaknya berseberangan dengan kamar
kosong tempat mama dan kelinci kelincinya
sering menghabiskan waktu bersama mataku
nakal mengintip Mama yang tengah dikerumuni
tisu juga beberapa botol irish whisky yang
berserakan di lantai’
“pasti mama sakit hati lagi nih,” dugaku
menyaingi cenayang professional.
‘mama sering mendatangkan kelinci kerumah.’
[B3, P:17-18]
Rising Action
‘Ah, kan bisa sepulang sekolah, batinku tiba-tiba
bergumam. berniat untuk membawanya pulang
agar aku bisa terus memandangi senyumnya di
setiap saat. suasana sekolah sudah mulai tampak
hening. kuberanjak untuk mengambil bapak
presiden dan segera membawanya pulang.’ [B3,
P:22]
Climax
“Hey, mencuri mencuri ya?” tiba-tiba
segerombolan siswa mengagetkan
“Ah tidak, tidak” belaku terus memeluk Bapak
presidenku
“itu apa?” sambil mencoba meraih isi pelukanku
tanpa pikir panjang aku memutuskan lari
menjauh meninggalkan gerombolan siswa tadi.
mereka juga ikut lari mengejar. tak mau kalah
dan aku tak mau Bapak presidenku direbut, aku
berlari kencang semakin kencang dan
“PRAAAK!!!” [B3, P:23]
Falling action
“sepertinya bukan hanya sekedar kecelakaan itu
saja, Bu,” suara laki-laki lawan bicara Mama
seketika naik.
“maksud dokter?”
“Iya, ternyata anak ibu juga sudah lama
65
terserang…”
“ terserang apa Dok?” Mama semakin menekan
tun suaranya. “Aaa..IDS” jawab dokter gagap.
aku terhentak. kepala batinku jatuh dan
menangis. sangat keras [B3, P:24]
Resolution
‘pintu terbuka pelan
“ayu, bangun Nak! Bangun sayang! Mama di
sini.
Ayu, maafkan, mama ya sayang. maafkan
Mama!”
kubuka mata perlahan, “Mah!” ucapku lirih
“Iya sayang, Mama di sini”
Ada yang beda dari mama. apakah Mama sedang
tersenyum? Ah, tidak. mungkin aku salah lihat.
tidak yakin, ku coba mengedip ngedipkan mata
berkali-kali. lalu kulihat lagi. Iya, betul mama
tersenyum. senyumnya mengarah kepadaku. Aku
merasa tenggelam, tenggelam kedalam lautan
senyum mama, lalu melayang. Senyum yang
selama ini di nanti-nantikan.’ [B3, P:25]
The action pattern in this story is a peak and a downward slide because
the storyline starts from exposition, climax, falling action, and the last one is
the resolution, which can be proven in B3, P:17-18 and 22-25 this is
according to the formula which should be in a peak and a downward slide.
SETTING
TYPES OF SETTING
INTEGRAL -
BACKDROP ‘RIUH yang seketika mendobrak
keheningan malam menyusup pelan
menggerogoti suasana yang semula sunyi.
kulangkahkan kaki pelan menuju kamar
mama yang letaknya berseberangan dengan
66
kamar kosong tempat mama dan kelinci
kelincinya sering menghabiskan waktu
bersama.’ [B3, P:17]
‘malam berganti pagi. Matahari bersinar

cerah. cahayanya menerobos rimbun
dedaunan juga bunga ros kesukaan Mama,
membuat warna yang merah menjadi semakin
indah. begitulah cahaya matahari miring
mulai menghangatkan. teras yang kotor,
lukisan-lukisan kusam berdebu koleksi
Mama, rak buku, keramik satu-satunya
yang dulu menjadi koleksi kesayangan
Mama yang kini sudah tidak pernah
dijamah lagi. semuanya tersiram cahaya.
"ayu berangkat sekolah dulu ya ma"
ucapku lirih meninggalkan mama.
seperti biasa, lirikan sinis dari para
siswa menggerogoti titik entah apa yang
salah dari diriku titik aku sendiri
bingung.’ [B3, P:21]
‘ku menggeleng dan lekas pergi menuju

ruang kelas. ruang di mana bapak
presiden siap menyapa dengan
senyumnya. benar ia tersenyum. kali ini
benar-benar tertarik oleh senyum bapak
presiden.’ [B3, P: 22]
‘mata terbuka pelan. Remang perlahan

berubah terang. dalam kondisi setengah
sadar kudapati diri terlentang dan
terlilit sesuatu, kelihatannya seperti
kabel. seisi ruangan, sebelum akhirnya
sadar berada di rumah sakit karena
kecelakaan itu.’ [B3, P: 23]
The setting in this story is the backdrop, because the description of the
place and the atmosphere is only described in general, not specific or
detailed in accordance with the 1999 Lukens theory where the placement of
67
the atmosphere and the place is only general, such as in rooms, homes,
schools and hospitals, this is proven in the B3, P:17 and 21-23
POINT OF VIEW
‘aku mulai menghafal setiap jenis minuman yang
FIRST-PERSON sering diteguk Mama meski masih bingung dari
POINT OF VIEW mana ia mendapatkan minuman-minuman mahal
seperti itu.’ [B3, P:20]
OMNISCIENT POINT
-
OF VIEW
LIMITED
-
OMNISCIENT POINT
OF VIEW
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
It is clear that the point of view in this story is the first person's point
of view because this story uses the word "I" in describing the main
character. This is also in line with the Lukes theory when the main character
Ayu tells the story using the word "I", can be seen in B3, P:20
STYLE
CONNOTATION -
-
IMAGERY
FIGURATIVE
-
LANGUAGE
-
HYPERBOLE
UNDERSTATEMENT -
ALLUSION -
68
‘mama sering mendatangkan kelinci kerumah.
Dan tak jarang kelinci yang mama bawa itu
membuat aku terperangah karena penampilannya
terlihat persis dengan foto bapak presiden yang
selama ini tak pernah absen terpajang di depan
SYMBOL
kelas, berjas, lengkap dengan dasi yang mengikat
di lehernya.
“tentu saja kelinci spesies ini bukan kelinci
sembarang kelinci.” aku membatin.’ [B3, P:18]
Onomatopoeia
‘tak mau kalah dan aku tak mau Bapak
PUNS AND
presidenku direbut, aku berlari kencang semakin
WORDPLAY
kencang dan “PRAAAK!!!” [B3, P: 23]
This story has two styles. first, namely symbol because as Lukens
theory states that if the symbol style is an object, situation, or action that
operates on two levels of meaning, literal figurative or suggestive, this is
proven in the B3, P:18 which describes mashers who often came to his
house as his mother's rabbits. And B3, P: 23 classified into onomatopoeia in
the style of puns and wordplay because the word "PRAAAK!" describes the
situation when Ayu had an accident. as Lukens theory says that onoatopoeia
is the use of words that sound like their true meaning.
MENTAL HEALTH
MENTAL HEALTH
self-blame
PROBLEM
‘telingaku memang sudah kebal mendengar ungkapan-ungkapan seperti
itu. satu hal yang kutangkap dari semua ungkapan Mama, bahwa aku
sebenarnya anak yang tidak pernah ia damba-dambakan. mungkin karena
69
mama tidak tahu pasti, sebetulnya aku ini hasil bergulat Mama dengan
kelinci yang mana.’
[B3, P:20]
betul betul kata mama, aku ini sumber malapetaka. baginya dan juga orang
lain. [B3, P:23]
Psychological trauma experienced by Ayu is classified as: Self
blaming. Reporting from Beautynesia.id is an act of blaming oneself
excessively or can also be said to be inappropriate emotional abuse. In fact,
not a few also call it the highest and most toxic emotional abuse. This is not
without reason, considering that self-blame can strengthen a sense of
deficiency in oneself, both real and imaginary and stop the steps to be able
to start something that can make life more advanced.
Usually, this self-blaming has a series of events that begin with
unwanted events happening to oneself or others. Moreover, the other person
in question is a loved and cherished person. This is referred to as a negative
event whose occurrence can be triggered by negligence or things that are out
of control.
This happens to the ayu character where she feels that she should not
have been born into the world and troubled her mother, as well as when she
has an accident where she blames herself and says that she is indeed a
70
source of disaster for her mother and others, it can be seen in the B3, P: 20
and 23.
Reporting from Beautynesia.id Self blaming is an act of blaming
oneself excessively or can also be said to be inappropriate emotional abuse.
In fact, not a few also call it the highest and most toxic emotional abuse.
This is not without reason, considering that self-blame can strengthen a
sense of deficiency in oneself, both real and imaginary and stop the steps to
be able to start something that can make life more advanced.
Usually, this self-blaming has a series of events that begin with
unwanted events happening to oneself or others. Moreover, the other person
in question is a loved and cherished person. This is referred to as a negative
event whose occurrence can be triggered by negligence or things that are out
of control.
This happens to the ayu character where she feels that she should not
have been born into the world and troubled her mother, as well as when she
has an accident where she blames herself and says that she is indeed a
source of disaster for her mother and others, it can be seen in the B3, P: 20
and 23.
4. Analysis Of “Hujan” Novel By Tere Liye
a. Literary Elements
71
MYSTERIES AND
-
THRILLERS
‘Di televisi, pemimpin empat negara mengumumkan
tentang proyek kapal raksasa tersebut. Umat
manusia akan tetap bertahan hidup. Tidak di
permukaan, tapi di angkasa luar. Sementara bagi
yang tinggal, telah tiba masanya untuk benar-benar
bekerja sebagai satu umat manusia, menghadapi
masa-masa sulit dengan saling mengutamakan
ROMANTIC kepentingan bersama. Penonton di rumah, di
STORIES asrama, di panti, di kantor, berpegangan tangan
mendengar seruan itu. Satu bulan kemudian, Esok
dan Lail menikah, di tengah terik matahari Esok
menggenggam erat jemari Lail, berbisik, "Kita
akan melewati musim panas bersama-sama. Aku
tidak akan pernah meninggalkanmu lagi."Lail
mengangguk. Wajahnya terlihat sangat bahagia.’
[B4, P: 317]
SERIES NOVEL -
According to lukens (1999), Romantic stories the term is more often
used today as describing a story that is freely imaginative and scenes and
incidents are very remote from those of ordinary life. In B:4 P:317 where
Esok and Lail other live in a future super-technological life where people will
board ships to move to other planets where the earth is facing difficult times
namely global heat. But they stay on earth and live their happy day on earth in
crisis.
THEME
EXPLICIT THEME -
IMPLICIT THEME ‘Gadis ini justru berpusat pada masalah dunia
sejak gempa bumi terjadi.’ [B4, P: 142]
72
‘Hari itu perasaan tersebut belum tumbuh. Lail
masih anak perempuan tiga belas tahun. Bertahun-
tahun kemudian dia baru mengerti. Dia tidak ingin
hanya dianggap seperti adik.’ [B4, P: 56]
SECONDARY
-
THEME
The theme of the “Hujan” Novel, is climate change, romance, and
friendship, is categorized as an implicit theme. This is based on Lukens's
(1999) statement regarding implicit theme which is a theme based on the
reader's view because it is not stated precisely at every point in the story.
However, it can be interpreted based on events in the story that show how life
changes after the earthquake B4 P:142 and becomes the beginning of how
feelings of love grow in other friendships Lail and Esok. B4 P:56.
CHARACTER
‘Lail menatap rumput basah dan dedaunan pohon
yang ditimpa cahaya senja. Dia menyeka pipinya
Bukankah ibunya selalu bilang, dia anak yang
kuat. Sedangkan ayahnya selalu meyakinkan, Lail
adalah anak yang bisa diandalkan. Lail mengusap
BY ACTION pipinya. Kejadian besar seperti itu selalu bisa
membuat orang cepat dewasa. Mereka tidak
menghindar, tidak bisa melawan. Mereka hanya
bisa memeluk semua kesedihan, memeluknya erat-
erat, termasuk bagi anak perempuan usia tiga
belas tahun.‘ [B4, P: 59]
BY SPEECH "Aku tahu bagaimana cara membalasnya.
Mungkin kamu harus mencuci pantat panci di
keluarga itu selama seratus tahun. Baru lunas"
73
Lail bergurau.’ [B4, P: 89]
BY APPEARANCE -
‘Aku mendengar cerita itu beberapa tahun lalu.
Saat pelatihan periodik bagi perawat. Peristiwa
BY OTHER'S itu dijadikan studi kasus. Kami berdiskusi panjang
tentang peristiwa itu. Dan kamu... kamu salah satu
COMMENT
gadis di dalam cerita itu. Masih muda sekali,
bahkan belum genap delapan belas tahun.’ [B4, P:
152]
BY AUTHOR
-
COMMENT
According to lukens (1999), Character is used to mean a person by
action, speech, appearance, by other comments and by author comment.
Judging from the by-action character Lail is a strong and mature girl figure
can be seen in B4 P:59. Then in by speech Lail is a humorous figure when he
is talking to Esok can be seen in B4 P:89. Then other people describe Lail as a
child who is brave and has a soul of high ambition.
TYPES OF CHARACTER
FLAT CHARACTER -
ROUND ‘Ibunya melepas salah satu logam berbentuk bulat
CHARACTER dengan pengait di telinganya, selintas seperti
anting, tapi itu beadset. Dia menyerahkannya
kepada Lail. "Ayahmu ingin bicara." Lail
mengangguk, menerima logam bulat itu,
mengenakannya di telinga kanan.’ [B4, P: 13]
‘Lail menjadi yatim-piatu sejak hari yang tidak

akan pernah dilupakan seluruh dunia.’
[B4, P: 31]
‘Satu bulan kemudian, Esok dan Lail menikah, di

tengah terik matahari. Esok menggenggam erat
74
jemari Lail, berbisik, "Kita akan melewati musim
panas bersama-sama. Aku tidak akan pernah
meninggalkanmu lagi.’ [B4, P: 317]
In the novel “Hujan”, the main protagonist is a round character. Lail's
character develops in social status as the story progresses, starting from Lail
who initially has a complete family in B4, P: 31 to finally becoming an
orphan due to a terrible natural disaster that took both his parents in B4 P:31
and in the end. finally build a family (married) with Esok in B4 P:317.
PLOT
NARRATIVE ORDER
CHRONOLOGICA
-
L ORDES
FLASHBACK ‘Kamu mulai bercerita. Tidak mengapa jika kamu
harus berhenti. menangis, atau berteriak marah.
Kami membutuhkan semuanya. Tidak mudah
menceritakannya kembali, tapi kamu harus
melakukannya. Agar tetap fokus, aku akan
membantu dengan pertanyaan-pertanyaan. Aku
fasilitator, penghubung antara pasien dan bando
perak. Kamu sudah siap:" Gadis di atas sofa hijau
mengangguk samar.’ [B4, P: 7-8]
"Apa yang hendak kamu lupakan, Lail?" Elijah

kembali bertanya, pertanyaan pertama.
Lail, gadis di atas sofa hijau kali ini bisa
menjawabnya, meski dengan suara serak. "Aku
ingin melupakan hujan" [B4, P: 9]
‘CONGRATULATIONS! Selamat, penduduk bumi!

Kita baru saja mendapatkan bayi yang kesepuluh
miliar!" Tulisan itu ada di mana-mana pagi ini. Di
layar-layar supertipis stasiun kereta bawah tanah,
75
di papan iklan gedung-gedung, di dinding bus kota,
bahkan di lampu lalu lintas perempatan jalan.
Huruf-hurufnya bergerak, diikuti gambar kembang
api meletus, simbol perayaan. Satu-dua pejalan
kaki mendongak, memperhatikan.
"Kamu jangan sampai tertinggal, Lail!" seorang
wanita berusia 35 tahun berseru. Dia sedang
berjalan cepat melewati trotoar.’ [B4, P: 10]
Narrative order according to Lukens (1999), the novel “Hujan” is
categorized as flashback because the author interrupts the normal timeline, he
puts back time in the storyline and emphasizes how changes in the past
produce the present. In the early rain novel, the story tells about Lail who
wants to forget the rain and the paramedics tell Lail to tell his story from
beginning to end to help the scanner who wants to erase bad memories about
rain B4 P:8 on B4 P:10 starting tells the beginning of a bad memory lail.
KINDS OF PLOT
PROGRESSIVE
EPISODIC ‘Hari itu perasaan tersebut belum tumbuh. Lail
masih anak perempuan tiga belas tahun.
Bertahun-tahun kemudian dia baru mengerti.
Dia tidak ingin hanya dianggap seperti adik.’
[B4, P: 56]
‘Menghadapi ancaman nyata kepunahan

manusia, empat negara bersepakat memulai
proyrk pembuatan kapal. Dipimpin oleh
ilmuawan-ilmuwan dari universitas terbaik.kita
tidak bisa menyelamatkan semua orang, Lail.
hanya sepuluh ribu tiket untuk setiap negara.
Kami sepakat penduduk bumi memiliki
kesempatan yang sama. Seorang anggota tim
membuat mesin pencacah genetic manusia.
Mesin itulah yang memilih siapa saja yang
76
berhak menjadi penumpang sesuai
keanekaragaman genetic yang mereka miliki.
Semua penumpang terpilih telah dihubungi
seminggu lalu. Evakuasi telah dilakukan. Jika
kita masih duduk berdua disini, ini berarti kita
tidak termasuk di dalamnya.
Lail terdiam, menunggu penjelasan lebih lanjut’

[B4, P: 288]
Episodic refers to events that occur or have occurred periodically. That
is, stories that have different themes but have one goal and the same character
cast.. In B4 P:56 Lail's love story begins to like his best friend, namely Esok.
It was Lail who began to realize the love that grew over time and was
discussed in chapter 6 B4 P:288. Then move on to chapter 29 where it's hard
to hear the mayor's explanation about a ship that will go to another planet to
survive because extreme weather will soon hit. So in the rain novel, there are
2 themes, namely romance and science, which are played by the same
character in different chapters.

PERSON AGAINST
-
PERSON
PERSON AGAINST ‘Acara wisuda berjalan lancar. Esok terlihat di
SELF depan sana mengenakan toga, menerima tabung
ijazah, serta ucapan selamat dari pihak
universitas. Esok bergabung dengan mereka
setelah acara selesai, undangan masih ramai di
sekitar.
"Selamat Esok kamu membuat bangga empat
kakakmu." Ibunya mencium dahi Esok
"Aku tahau dia akan selalu membuat bangga
77
siapapun. Wali Kota tertawa, menepuk pundak
Esok
Saat itulah Lail merasakan sesuatu yang baru di
batinya. Perasaan yang berbeda. Yang tidak
pernah dia rasakan.
Cemburu "Lihatlah, Esok lebih banyak
menghabiskan waktu bersama keluarga
angkatnya. Juga menyapa teman-teman
sekampusnya. Dan yang membuat Lail semakin
cemburu, Esok lebih sering berbicara dengan
Claudia. Berfoto bersama Claudia. Bergurau
dengan Claudia. Tertawa. Mereka terlihat akrab.
Sementara Lail lebih banyak menghabiskan waktu
dengan mendorong kursi roda ibu Esok berdiri
menonton seluruh keceriaan.’ [B4, P: 244]
‘Elijah diam sejenak, mendongak."Ratusan orang

pernah berada di ruangan ini. Meminta agar
semua kenangan mereka dihapus. Tetapi
sesungguhnya, bukan melupakan yang jadi
masalahnya. Tapi menerima. Barang siapa yang
bisa menerima, maka dia akan bisa melupakan.
Tapi jika dia tidak bisa menerima, dia tidak akan
pernah bisa melupakan.
Lail terisak di atas sofa hijau. Dia tahu nasihat
itu. Maryam pernah membahasnya. Tapi
bagaimana dia akan menerima semua kenangan
menyakitkan itu? Lail menyeka pipinya. Dia tahu,
seluruh kenangan itu seharusnya indah. Hidupnya
dipenuhi hal-hal menakjubkan. Tapi kenapa saat
diingat terasa menyakitkan Membuatnya sesat.
Nasihat-nasihat itu mudah dikatakan, tapi berat
dijalani. [B4, P: 308]
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
According to Lukens (1999), conflict types and roles in the novel
Hujan are person-against-self because of internal problems (inner conflict) of
78
the main protagonist. One form of inner conflict experienced by the main
character Lail is when he feels uncertain about his love for Esok. These
feelings arise when Esok prioritizes Claudia over herself B4 P: 244 and Lail's
feelings that have been filled with anger and disappointment make her not
care about the rules set by the superego. So the ego decides to take bad actions
to erase the memories of the past B4 P:308.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING
-
UPWARD LINE
DOWNWARD SLIDE ‘Tangan kecil Lail gemetar menggenggam anak
tangga. Itu benar-benar tangga darurat, anak
tangga yang terbuat dari besi ditanam di dinding.
Lail seperti menaiki sumur gelap. Tapi mereka
tidak punya pilihan lain.’ [B4, P: 27]
‘Lail sudah sejak tadi berusaha tiba di atas sana

secepat mungkin. Tinggal setengah meter lagi,
dia sudah dekat sekali dengan permukaan. Tapi
gerakan tanah runtuh tiba lebih cepat. Anak
tangga yang dipegang dan diinjak ibunya luruh,
juga yang dinjak kaki Lail. Tubuh Lail
menggantung dengan dua tangan beregangan
erat di anak tangga terakhir.
"Ibu!" Lail berteriak, menatap ngeri ke bawah.
"Jangan berhenti, Lail!" Ibunya yang telah
kehilangan pegangan anak tangga berteriak
untuk terakhir kalinya, balas mendongak menatap
Lail. Tubuh ibunya telah jatuh bersama gugur an
tanah, terseret ke dalam lorong kereta yang
ambruk empat puluh meter ke bawah sana.
Gelap.’ [B4, P: 28]
79
‘Lail meronta. Dia hendak menolong ibunya.
Anak laki-laki itu lebih dulu cekatan menyeret
tubuh Lail, menariknya lari melintasi lantai
ruangan, menendang pintu, persis sebelum lantai
ruangan itu ikut runtuh. Mereka berhasil lompat
menyelamatkan diri.’ [B4, P: 29]
Rising action
“Esok…” Lail menyikut lengan Esok.
Esok meoleh
“Apakah kamu dan ibumu akan ikut ke panti”
Lail mengulang pertanyaan?”
Esok menggeleng perlahan. Cepat atau lambat
dia harus membertahu Lail. mungkin sekarang
saat yang tepat, ketika mereka sedang menonton
pembangunan kolam air mancur, landmark
penting kota
“Aku tidak ikut ke panti sosial”.
“Kenapa?” Lail bertanya
“Ada keluarga yang bersedia mengangkatku jadi
anak asuh, sekaligus menyekolahkanku setinggi
mungkin.” Suara pelan Esok hampir tidak
terdengar, kalah oleh suara alat-alat berat yang
sedang mengecor kolam air mancur.
Lail dan Esok terdiam satu sama lain.
“Mereka juga bersedia menampung ibuku….Aku
sebenarnya tidak tertarik, lebih suka tinggal di
panti. Aku bisa bersekolah, bekerja, menjaga ibu,
bersama kamu. Tapi ibu membutuhkan perawatan
serius. Dia terus sakit-sakitan. Tinggal bersama
keluarga baru mungkin akan membuat ibu lebih
sehat,” Esok berusaha menjelaskan.
Lail mengangguk samar. “Iya itu benar. Ibumu
akan lebih baik disana.”
“Kamu tidak sedih?”
Lail menggeleng. “Aku senang mendengarnya.’
[B4, P: 74-75]
Climax
“Aku minta maaf mengganggu jadwal istrahatmu,
Lail. ada yang hendak aku bicarakan padamu.”
80
Wali kota mengusap keringat di dahi, wajahnya
terlihat sangat letih.Dia bekerja nyaris delapan
belas jam setiap hari mengurus kota mereka.
Mencari solusi paceklik bahan pangan.malam ini
Wali kota menyisihkan waktu, pergi menemui Lail
di sektor 3. Itu berati ada hal penting dan amat
mendesak.
“Aku tahu Esok pasti telah membertahumu”.
Lail bisa segera menebak topic pembicaraan.
“Kapal raksasa…” Lail berkata pelan.
Wali Kota mengangguk.
“Delapan tahun lalu setelah deadlock KTT
Perubahan Iklim Dinia, beberapa pemimpin
dunia melakukan pertemuan tertutup. Aku
termasuk salah satunya. Dalam pertemuan itu
juga hadir belasan ilmuwan terkemuka.
“Menghadapi ancaman nyata kepunahan
manusia, empat negara bersepakat memulai
proyrk pembuatan kapal. Dipimpin oleh
ilmuawan-ilmuwan dari universitas terbaik.kita
tidak bisa menyelamatkan semua orang, Lail.
hanya sepuluh ribu tiket untuk setiap negara.
Kami sepakat penduduk bumi memiliki
kesempatan yang sama. Seorang anggota tim
membuat mesin pencacah genetic manusia. Mesin
itulah yang memilih siapa saja yang berhak
menjadi penumpang sesuai keanekaragaman
genetic yang mereka miliki. Semua penumpang
terpilih telah dihubungi seminggu lalu. Evakuasi
telah dilakukan. Jika kita masih duduk berdua
disini, ini berarti kita tidak termasuk di
dalamnya.
Lail terdiam, menunggu penjelasan lebih lanjut’
[B4, P: 288]
“Tapi…” Wali Kota mengusap pelipisnya, “Esok

memiliki dua tiket.”
Mata Lail membesar. Esok? Dua tiket?.
“Aku tahu Esok akan menggunakan satu tiket
lagi untukmu. Dia sangat menyayangimu, Lail.
tapi ijinkan orang tua ini memohon. Bisakah
kamu meminta Esok agar memberikan tiket itu
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kepada Claudia?’ [B4, P: 290]
Falling action
‘Dua puluh empat jam sebelum kapal itu
berangkat, Lail akhirnya mendapatkan berita.
Berita yang membuat dirinya tergugu.
Bukan dari Esok, melainkan dari Wali Kota yang
datang bersama istrinya, menemui Lail di
apartemen. Mereka memperoleh alamat
apartemen Lail dan Maryam dari asrama
sekolah.
"Sungguh terima kasih, Lail. Kami tidak bisa
membalasnya dengan apa pun." Istri Wali Kota
memeluknya erat. Lail terdiam, mencoba
tersenyum.
Claudia resmi sudah memperoleh tiket itu. Pagi
tadi Wali Kota dan istrinya mengantar Claudia ke
stasiun kereta, menuju Ibu Kota.
"Kamu sungguh baik hati telah memberikan tiket
itu kepada Claudia, Nak. Terima kasih telah
membujuk Esok melakukannya." Istri Wali Kota
terisak.’ [B4, P: 302]
"Apakah dia memberikan tiket itu kepada

Claudia?"
Maryam menggeleng, "Aku tidak tahu."Lengang
sejenak.
‘Lail menangis, sambil mengunyah makanannya.
"Aku tidak ingin naik kapal itu, Maryam. Aku
hanya ingin tahu apakah
Esok mencintaiku atau tidak. Kalaupun dia
memutuskan pergi tanpa memberitahuku,
setidaknya aku tahu jawabannya." Maryam
menatap Lail dengan mata berkaca-kaca. Hatinya
tertusuk pilu melihat teman sekamarnya sedang
nelangsa menunggu kabar.
"Maryam, aku ingin melupakan semuanya. Semua
ingatan ini. Semua kenangan, semua pikiran-
pikiran buruk yang melintas. Aku ingin
menghapusnya dari kepalaku. Aku sudah tidak
tahan lagi." Lail terisak.’ [B4, P:300]
82
Resolution
"Maryam?" Lail tersenyum, menyapa.
"Maafkan aku, Lail.. Esok ikut mendekat,
melangkah dengan kenangan atas Maryam utuh.
Lail mengenalinya. kaki gemetar. "Maafkan aku
yang membuat semua kesalahpahaman ini. Aku
seharusnya memberitahumu sejak awal."
Esok menatap Lail, yang dibalas dengan tatapan
datar.
"Sungguh maafkan aku, Lail."
Namun, apa lagi yang akan diharapkan Esok?
Jika semua benang merah itu telah dihapus dari
memori Lail, gadis itu sama
sekali tidak akan mengenali Esok. Sempurna
terhapus.
Esok terisak. "Kamu tidak boleh melupakanku,
Lail. Aku mohon... Bagaimana aku akan
menghabiskan sisa waktu bumi jika kamu
melupakanku? Kamu satu-satunya yang paling
berharga dalam hidupku."
Esok menghampiri Lail dan memegang lengan
gadis itu. "Lail, apakah kamu mengenalku? Aku
mohon. Kembalilah." Lengang. Lail menatap
Esok masih dengan tatapan kosong "Lail, aku
mohon... Apakah kamu masih mengingatku?"Esok
mengguncang lengan Lail.
Lail tiba-tiba tersenyum. "Aku yang memberikan
topi biru itu kepadamu, Esok" [B4, P: 314]
According to (Lukens 1999), the action patterns contained in the novel
“Hujan” are a peak and a downward slide because the story or climax ends
clearly. Starting with explaining from the exposition, when Lail saw her
mother down into the aisle of the train while Lail was saved by Esok B4 P:28-
29 then in the raising action he told about Esok and Lail had to separate
because Esok had to go with his adoptive family and then Lail must be in a
83
social institution. B4 P: 74-75. Then in climax Lail finds out that Esok join the
shipbuilding and get 2 tickets which the mayor thinks will be given to Lail.
B4 P:290 Then in the falling action, it turns out that Claudia's name is listed
on the ship's passenger. Until finally Lail thinks Esok has left her. B4 P:302 In
the end, Lail, who felt hurt, wanted to erase the memory of Esok B4 P:300
Until the resolution turns out to be wrong about Esok. Esok does not go with
Claudia.Esok want to live on earth with Lail. But Lail has been in the center
of memory erasure and Esok hopes Lail doesn't forget him. And miraculously
Lail embraced all the bitter memories he had experienced and didn't forget
Esok.
SETTING
TYPES OF SETTING
‘Letak panti sosial itu tidak jauh dari kolam air
mancur. Kota mereka menyusut tinggal tiga puluh
persen dari luas sebelumnya. Bangunan baru
dibangun di sekitar Central Park. Lail sudah
sering melintasinya saat panti sosial masih
INTEGRAL dibangun. Ada satu gedung setinggi enam lantai
berwarna biru, simetris dengan jendela-
jendelanya. Halaman gedung itu luas dengan
rumput terpotong rapi. Pohon-pohon palem
berbaris. Panti sosial itu terlihat menyenangkan.’
[B4, P: 76]
BACKDROP ‘RUANGAN 4 x 4 m2 itu selintas terlihat didesain
terlalu sederhana untuk sebuah ruangan paling
mutakhir di kota ini Padahal ruangan itu
berteknologi tinggi dan berperalatan medis
paling maju. Teknologi terapinya tidak pernah
dibayangkan manusia sebelumnya.’ [B4, P: 5]
84

“Ibumu sudah siuman?” Lail bertanya pelan.
Esok menggeleng, menoleh ke tenda di belakang,
tempat ibunya dirawat.’ [B4, P: 42]
Itu benar-benar tangga darurat, anak tangga

yang terbuat dari besi ditanam di dinding. Lail
seperti menaiki sumur gelap. Tapi mereka tidak
punya pilihan lain. Hanya itu satu-satunya jalan
keluar ke permukaan.’ [B4, P: 27]
The setting in novel “Hujan” has integral and backdrop setting.
According to lukens (1999), the integral setting is one that points to a specific
place and time period B4 P:76 social institutions are explained specifically
from the location and appearance of the building and the backdrop happens
when the story is timeless and the writer does not specify the time or place
when it happened B4 P:5 4x4 room that is not clear what kind of room and
where and B4 P:42 an emergency hospital disguised as a tent for treatment.
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
OMNISCIENT POINT
-
OF VIEW
LIMITED ‘Gadis berusia 21 tahun yang duduk di atas sofa
OMNISCIENT POINT hijau menyeka ujung matanya. Mengenang dan
OF VIEW menceritakan kembali kejadian delapan tahun
lalu itu tidak mudah. Bahkan dia baru mulai pada
hari pertamanya.’ [B4, P: 40]
‘Dalam kisah mereka berdua, di tengah teknologi

komunikasi menajubkan saat itu, hanya tiga kali
85
mereka bercakap lewat telepon. Satu untuk
malam itu; yang kedua, setahun kemudian. Saat
Esok menyelesaikan kuliahnya; dan yang
terakhir, di penghujung kisah ini. Tiga tiganya
Esok yang menelpon, karena serindu apa pun
Lail, dia tetap tidak berani melakukannya.
Sesuatu yang tidak pernah bisa dimengerti
Maryam, yang bertahuntahun menjadi teman
sekamar.’ [B4, P: 213]
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
“Hujan” novel has limited omniscient point of view, because
according to lukens (1999), limited omniscient point of view, in which the
writer, again telling the story in third person, concentrates on the thoughs,
feelings, and significant past experience of only the central character or
protagonist, B4 P:40 uses the third person word.by including the name of the
character. Then the writer concentrates on the bad protagonist character about
his painful experience 8 years ago. B4 P:213 tells how the daily LDR
conditions from lail. We can know the news from Esok through Lail's
character.
STYLE
CONNOTATION -
IMAGERY -
FIGURATIVE ‘Studion ramai oleh lautan manusia saat mereka
LANGUAGE tiba.’ [B4, P: 45]
‘Empat puluh detik yang terasa lama sekali, atap
86
lorong atap lorong akhirnya berhenti mengejar
penumpang. Lantai lorong kereta kembali solid,
tidak bergoyang.’ [B4, P: 26]
HYPERBOLE ‘Air matamu bisa membuat banjir ballroom.’ [B4,
P: 175]
UNDERSTATEMEN
-
T
ALLUSION -
SYMBOL -
PUNS AND
-
WORDPLAY
“Hujan” novel has 2 styles, are figurative language and hyperbola
accoringing to lukens (1999), The writer uses words in a nonliteral way in B4
P:45 and B4 P:26 and overstatement.in B4 P:175
MENTAL HEALTH
MENTAL HEALTH
Denial mental disorder
PROBLEM
‘Elijah diam sejenak, mendongak.
“Ratusan orang pernah berada di ruangan ini. Meminta agar semua
kenangan mereka dihapus. Tetapi sesungguhnya, bukan melupakan yang
jadi masalahnya. Tapi menerima. Barang siapa yang bisa menerima, maka
dia akan bisa melupakan. Tapi jika dia tidak bisa menerima, dia tidak akan
pernah bisa melupakan.” Lail terisak di atas sofa hijau. Dia tahu nasihat itu.
Maryam pernah membahasnya. Tapi bagaimana dia akan menerima semua
kenangan menyakitkan itu?“Lail menyeka pipinya. Dia tahu, seluruh
kenangan itu seharusnya indah. Hidupnya dipenuhi hal-hal menakjubkan.
Tapi kenapa saat diingat terasa menyakitkan? Membuatnya sesat. Nasihat-
nasihat itu mudah dikatakan, tapi berat di jalani.’ [B4, P: 308]
In “Hujan” novel, Lail feels confused to erase her memories, because
the memories that should be beautiful but in reality are painful. Lail also knew
87
that erasing memories was not to erase memories, but to accept the situation.
Lail had received advice from Maryam, but the advice was difficult to carry
out to accept it. Lail didn't have an appetite because she remembered the bitter
events that had happened. He felt restless when he remembered the important
events that happened to her. She doubted whether she could really forget the
bitter memories. Rain always reminds of that incident. She had tried so hard.
Lail really wanted to forget the rain. Actually it's not the rain that he wants to
forget, but all the painful memories when it rains that she wants to forget. Lail
tries to forget all the memories that happened when it rained.
5. Analysis Of “Kalau Semua Wanita Jelek” By Tere Liye
GENRE: REALISM
"Ini angkot sempit banget tahu, gara-gara lu
naik. Lihat nih sesak." Si anak ramping jahat
REALISTIC memonyongkan bibir, "Harusnya ya, ongkos naik
STORIES angkot itu disesuaikan dengan berat badan. Jadi
orang-orang kayak lu, kenanya dobel. Rugi tahu
sopirnya." [B5 P:128]
MYSTERIES AND
-
THRILLERS
ROMANTIC
-
STORIES
SERIES NOVEL -
According to Rebecca J. Lukens (1999) in her book A Critical
Handbook of Children's Literature, the realistic genre means stories whose
situations are realistic or may occur in the real world and can become reality
88
in real life. The conflict relates to people or social and this story happens a lot
in the real world. As in the short story “Kalau Semua Wanita Jelek” in B5 P:
128 it shows bullying of a fat girl.
THEME
EXPLICIT THEME -
‘Berbeda dengan Jo yang menolak paham-
kalaupun ia sebenarnya paham -untuk
menerimanya. Jo terus ber- kutat dengan tubuh
tambunnya. Pernah saking inginnya bertubuh
kurus, Jo memaksa diri melakukan diet tanpa
IMPLICIT THEME terkendali. Fantastis memang, berat tubuhnya
turun separuh. Membuat pangling. Tapi itu hanya
bertahan beberapa minggu, sebelum berakhir
terbaring di ranjang rumah sakit. Dan saat ia
kembali sehat, tubuhnya kembali membesar tapa
kendali.’ [B5 P: 134]
SECONDARY
-
THEME
The theme of the short story “Kalau Semua Wanita Jelek”, namely the
lack of self-confidence is categorized as an implicit theme. This is based on
the statement of Rebecca J. Lukens (1999) about implicit themes, namely
themes based on the reader's view because they are not stated correctly at
every point of the story. However, it can be interpreted based on the opinion
of the character in the story which shows how Jo's character is not confident
with his physical appearance, as stated in B5 P: 134
CHARACTER
89
‘Jo sebenarnya adalah pekerja keras. la
bersediamelakukan apa pun demi definisi
kecantikan yang disepakati orang-orang. Kalau
ia bersedia enam kali masuk rumah sakit karena
berusaha menguruskan badan, maka jangan
BY ACTION
ditanya lagi. la bersedia tidak makan berhari-hari
dan berolahraga berjam-jam, demi terlihat lebih
ramping. Tapi sepertinya takdir gendut itu tidak
mudah dikalahkan. Entah apa pun hikmahnya.’
[B5 P: 135]
‘Jo membuktikan ucapannya. Dengan motivasi
tiada tara, mendapatkan fakta kalau gaji
bulanannya terlalu kecil. Wajahnya hanya sedikit
memutih. Tubuhnya hanya sedikit lebih seksi.
BY SPEECH Cling, saat gaji bulanannya dibayar,
kecantikannya lebih banyak terkikis untuk
membayar keperluan hidupnya selama sebulan.
Jo akhirnya memutuskan keluar dari kantornya.’
[B5 P: 142]
‘Siapakah itu di cermin? Kenapa ada gadis
BY APPEARANCE
ramping di sana? itu bukan dirinya? Jo menepuk-
nepuk pipi, eh sakit, ini pipinya bukan?
Memeriksa dagu, leher, lengan, betis, eh? Ini
benaran dirinya bukan? Jo termangu sedetik,
lantas berseru bingung. Tepatnya sedikit takut.
Aneh sekali bukan saat kalian melihat cermin,
tapi bukan diri kita yang memantul di cermin
tersebut.’ [B5 P: 137]
BY OTHER'S
-
COMMENT
‘Jo mendirikan biro perjalanan online sendiri.
Dengan passion sebesar itu, dalam dunia
enterprenuer, wiraswasta hanya soal waktu bisnis
Jo menggurita. Paket perjalanan yang ia jual
BY AUTHOR laku keras. la mulai merekrut banyak karyawan.
COMMENT Awalnya hanya hitungan jari. Persis di bulan
keenam, dengan bantuan sindikasi kecantikan
dunia (dizaman lama disebut sindikasi keuangan
dunia), bisnis Jo membesar tiada tara.’ [B5 P:
142]
90
Judging from the by action, Jo is a hardworking and stubborn person
B5 P: 135. In by speech Jo is a person who can prove his word and is very
passionate about pursuing something like Jo really wants to be beautiful B5 P:
142. Then in by appearance Jo is a fat girl but when she prays to her creator Jo
turns into thin and beautiful B5 P:142, by author comment Jo founded his own
online travel agency. With such a big passion, in the world of entrepreneurs
B5 P: 142
TYPES OF CHARACTER
FLAT CHARACTER -
"Iya, dunia memang tidak berakhir." Jo
menjawab sarkas, '"Gunung-gunung seharusnya
sudah meletus dari tadi, atau lautan sudah
terbelah kalau memang kiamat. Dan kita tidak
bisa lagi duduk santai menikmati minuman. Kita
sudah berteriak-teriak histeris seperti di film.
ROUND
Arrgghh.. Arghhh…..." [B5 P: 130]
CHARACTER
‘Omong kosong. Justru dengan mendadak seperti
ini lu benar-benar mengganggu gue. Gue lagi di
acara fashion bersama orang cantik sedunia di
Paris. Lu sudah membuat acara itu berantakan,
tahu!" Jo menjawab jengkel.’ [B5 P: 145]
The type of character from the short story “Kalau Semua Wanita
Jelek” is a round character. This is based on Rebecca J. Lukens's (1999)
statement that round characters are fully developed characters, meaning we
know a lot about characters; readers may even be able to anticipate the actions
of round characters if the characterizations are done well and consistently. As
91
in Jo's character, initially he is a friend who always travels with Vin but when
Jo starts to be beautiful and has a travel agency business, Jo's attitude changes
to rude and rarely travels with Vin, his best friend, as stated in B5 P : 130 P :
145
PLOT
NARRATIVE ORDER
‘Di tengah situasi tegang, ada customer yang
marah-marah, mendengar frase gajah jumbo dan
paus bunting keluar, staf ticketing lain yang sejak
tadi menonton sontak menahan tawa. Menyisakan
Jo yang tertunduk sakit hati dan manajer biro
perjalanan yang berkali-kali minta maaf.
Menjanjikan agar segera mengurusnya.’
[B5 P: 131]
‘Berkali-kali Jo memikirkan soal itu, dari dulu,

kenapa? Kenapa ada manusia yang dilahirkan
cantik, kenapa ada yang tidak? Di mana sisi
adilnya? Hingga malam ini, setelah tadi siang di
CHRONOLOGICAL hina oleh customer biro perjalanan, bertemu
ORDES dengan Vin, dan Vin menceritakan anekdot soal
gadis gendut yang menumpang angkot, hal
tersebut terus berputar-putar di kepala Jo.
Kenapa ini tidak adil?’ [B5 P: 136]
‘Baiklah-Baiklah, ia akan meminta keadilan soal

ini langsung kepada Sang Pencipta. la akan
mempertanyakan langsung semua ini. Maka
malam itu, dari bingkai jendela salah-satu rumah
dua lantai yang masih menyala di pinggiran kota
kami. Lewat tengah malam, saat banyak orang
sudah jatuh tertidur, lelap bermimpi, Jo dengan
menangis terisak mengadu.’ [B5 P: 136]
92
FLASHBACK -
According to Rebecca J. Lukens (1999) Chronological Order, a
narrative that chronologically connects one event to subsequent events is
known as a chronological order. At B5 P: 130 the beginning of the conflict in
this short story when Jo as the main character is insulted by customers such as
“gajah jumbo dan paus bunting”, Jo is hurt by the customer's words. B5 P:
136 Jo's character thinks about why some humans are created beautiful and
not and according to Jo why God created humans unfairly. B5 P: 136 Jo
finally relented and asked God for justice and Jo complained with tears in her
eyes.
KINDS OF PLOT
PROGRESSIVE ‘Lihatlah, Erik Tarore, pemuda idamannya,
ketahuan tega berselingkuh dengan gadis lain.
'"Apa aku kurang cantik, hah?" Jo menangis.’
[B5 P: 147]
‘Tetapi itu bukan yang terburuk. Yang terburuk

adalah, dalam sebuah tatanan dunia baru, proses
keseimbangan selalu terjadi. Itu hukum alam.
Ketika kecantikan itu tidak bisa dihadiahkan,
dihibahkan atau diwarisi, melainkan harus
diperoleh, maka orang-orang jahat bisa memaksa
Apa yang terjadi? Persis saat bisnis biro
perjalanan milik Jo akan go public, menjual
saham ke bursa, teman sosialita super cantik dari
kota lain mengkhianatinya. Itu rekayasa
keuangan, eh kecantikan, yang hebat. Dalam
sekejap, bisnis milik Jo berpindah tangan. la
dicurangi habis-habisan melalui skandal
kecantikan abad itu. Dalam bahasa mudahnya, Jo
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bangkrut. Semua kecantikan itu langsung disedot
oleh mesin. Cling, cling, cling, jutaan kali, Jo
kembali seperti dulu.’ [B5 P: 148]
EPISODIC -
According to rebecca J. Lukens (1999) Progressive plot, Plot with
central climax. Like B5 P : 148, when Jo's business started to go public, Jo
was betrayed by another city from a super beautiful socialite, in an instant Jo's
business changed hands and Jo went bankrupt until Jo finally returned to
normal.

"Astaga, tentu saja semua ini adil, Jo. Sudah
diatur sedemikian rupa" Vin buru-buru ber-hsss,
memotong kalimat Jo barusan,"Kita saja yang
tega membuat definisi sendiri soal kecantikan.
PERSON AGAINST
Semua bayi perempuan terlahir cantik,
PERSON
menggemaskan. Semua anak-anak perempuan
tumbuh menjadi remaja dengan kecantikan
masing masing. Lantas dewasa juga dengan
kecantikan masing- masing.’ [B5 P: 135]
PERSON AGAINST
-
SELF
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
Types of conflict and roles of short stories “Kalau Semua Wanita
Jelek”, person against person, this is based on Rebecca J. Lukens (1999)
statement about Person Against Person, where two (or more) characters are in
conflict. Like in B5 P: 135 where Jo and Vin' characters argue about beauty,
94
they both have different opinions about beauty. Jo believes that beauty comes
from the physical and beauty can be bought with money, while Vin thinks that
beauty comes from the heart.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING
-
UPWARD LINE
DOWNWARD SLIDE ‘Jo semakin hebat. Bisnis biro perjalanan Jo
bahkan sebentar lagi akan berjualan saham di
bursa. Mendunia. Mengglobal. Sementara Vin,
ternyata a dilarikan ke rumah sakit. la tetap
menganggur. Dan karena tidak enak hati terus
ditanggung Jo, a diam-diam menolak
pembayaran tersebut, membuat kondisinya
semakin buruk.’ [B5 P: 145]
Rising action
"Maaf, gue harus cepat pergi, Vin." Jo sudah
memasukkan telepon ke tasnya. Melambai ke
lorong rumah sakit. Erik Tarore sudah datang
menjemputnya. "Gue akan bayar semua biaya
rumah sakit. Bye”. [B5 P: 146]
Climax
‘Lihatlah, Erik Tarore, pemuda idamannya,
ketahuan tega berselingkuh dengan gadis lain.
'"Apa aku kurang cantik, hah?" Jo menangis.’
[B5 P: 147]
Falling action
‘Jo menangis. Membanting pintu mobil. Menekan
pedal gas kencang-kencang, meninggalkan Erik
yang berdiri mematung di trotoar. Sudah
beberapa bulan terakhir ia curiga kenapa Erik
95
berubah, terlambat menjemputnya, mulai bilang
banyak alasan. Apa kurangnya in bagi Erik? la
yang membawa Erik berkenalan dengan dunia
itu. la juga yang menyanjung Erik. Dasar laki-
laki penghianat! Playboy murahan’. [B5 P: 147]
Resolution
"Maafin gue, Vin." Jo tersedu. la benar-benar
dalam posisi buruk. Kehilangan Erik Tarore, juga
kehilangan bisnis, dan yang lebih menohok
kehilangan kecantikan. Vin membelai lembut
rambut Jo, "Lu lupa, Jo, mau sesakit apa pun lu
saat ini. Mau sesebal, sebenci apa pun, lunggak
pernah sendirian. Gue akan selalu menjadi teman
baik. Gue akan selalu bersedia mendengarkan.’
[B5 P: 148]
The action pattern in the short story, “Kalau Semua Wanita Jelek”
namely an upward slash, according to Rebecca J. Lukens (1999), namely an a
peak and a downward slide is the story rises to a peak or climax and then
clearly concludes. Rising action begins with a situation that must be shown
and explained, we must know what has happened before the story opens, what
has created the current situation. This short story consists of exposition, as Jo
is getting more and more adept at running his travel agency business B5 P:
145. Then the falling action, Jo leaves Vin who is sick and goes with Erik B5
P: 136. In the climax, this is where the problem peaks, Jo finds out that Erik
has been having an affair with another woman B5 P: 147. Then when he falls,
Jo cries and leaves Erik on the sidewalk B5 P: 147. Next is Resolution, Jo
regrets and apologizes to Vin and goes back to being himself B5 P: 148
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SETTING
TYPES OF SETTING
INTEGRAL -
‘Dua jam lalu, Vin sebenarnya sedang asyik
bekerja, lembur malam-malam menyelesaikan
laporan bulanan kantor ketika Jo meneleponnya
mengajak makan malam.’ [B5 P: 129]
BACKDROP
‘Melirik jam di pergelangan tangan, ini sudah
dua jam mereka duduk di sebuah kafe dekat
kantor Jo.’ [B5 P: 129]
The short story “Kalau Semua Wanita Jelek” uses an backdrop setting
based on Lukens's (1999) statement which states that an integral setting is a
setting that shows a certain place and time. As in B5 P: 129 states the place is
in the cafe and the time is at night.
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
OMNISCIENT POINT ‘Meskipun mereka sudah berteman hampir tiga
OF VIEW belas tahun, usia hampir tiga puluh, dengan
masalah yang sama-tak jauh-jauh dari
penampilan fisik- perangai Jo dan Vin tumbuh
berbeda sekali. Vin tumbuh dengan pemahaman
baik. Sejak SMA dulu a tidak terlalu peduli
dengan pendapat orang lain. Sepanjang ia
bahagia, maka mau jelek, mau cantik orang lain
menilai, a selalu merasa cantik’. [B5 P: 134]
‘Berbeda dengan Jo yang menolak paham-
kalaupun ia sebenarnya paham -untuk
menerimanya. Jo terus ber- kutat dengan tubuh
tambunnya. Pernah saking inginnya bertubuh
kurus, Jo memaksa diri melakukan diet tanpa
terkendali. Fantastis memang, berat tubuhnya
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turun separuh. Membuat pangling. Tapi itu hanya
bertahan beberapa minggu, sebelum berakhir
terbaring di ranjang rumah sakit. Dan saat ia
kembali sehat, tubuhnya kembali membesar tapa
kendali.’ [B5 P: 134]
LIMITED
OMNISCIENT POINT -
OF VIEW
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
According to Rebecca J. Lukens (1999) the omniscient point of view
is that the author tells the story as an omniscient person. In B5 P:134 the
author uses the third person (them) by mentioning the names of Jo and Vin as
friends who have been friends for a long time.
STYLE
CONNOTATION -
"Gunung-gunung seharusnya sudah meletus dari
tadi, atau lautan sudah terbelah kalau memang
kiamat. Dan kita tidak bisa lagi duduk santai
IMAGERY
menikmati minuman. Kita sudah berteriak-teriak
histeris seperti di film. Arrgghh.. Arghhh…...’ [B5
P: 130]
FIGURATIVE
-
LANGUAGE
HYPERBOLE -
UNDERSTATEMET -
ALLUSION -
SYMBOL -
PUNS AND
-
WORDPLAY
98
B5 P: 130 the imagery style fits the short story “Kalau Semua Wanita
Jelek” because Jo refutes vin's statement and imagines that “Gunung-gunung
seharusnya sudah meletus dari tadi”.
b. Mental health
MENTAL HEALTH
MENTAL HEALTH
Insecurity
PROBLEM
‘Berkali-kali Jo memikirkan soal itu, dari dulu, kenapa? Kenapa ada
manusia yang dilahirkan cantik, kenapa ada yang tidak? Di mana sisi
adilnya? Hingga malam ini, setelah tadi siang di hina oleh customer biro
perjalanan, bertemu dengan Vin, dan Vin menceritakan anekdot soal gadis
gendut yang menumpang angkot, hal tersebut terus berputar-putar di
kepala Jo. Kenapa ini tidak adil?’ [B5 P:1 36]
Insecure or insecurity according to Asta (2019) means an emotional
act when we judge ourselves as lower than others. Insecure can also be
interpreted as a feeling of insecurity that may be felt by everyone in his life.
Feelings of insecurity or can happen to us when we feel deprived,
ashamed, guilty, even unable to do something. When this feeling of insecurity
controls you, it will trigger feelings of insecurity within you. Another
consequence that will arise from this insecurity is that a person can become
afraid to interact with other people. This can be due to their weight, skin color
differences, and other physical differences or differences that cause a person
to feel insecure and thus insecure to interact.
As happened to Jo's character in B5 P: 136, Jo feels inferior to his fat
physical condition and feels that God was unfair in creating humans.
99
6. Analysis Of “Si Anak Badai” Novel By Tere Liye
GENRE: REALISM
‘Seperti biasa, selepas maghrib kami mengaji di
rumah Guru Rudi, tidak jauh dari jembatan
menuju Masjid. Yang tidak biasa, setelah anak-
REALISTIC
anak menyetor bacaan, Ode mendadak angkat
STORIES
telunjuk, hendak bertanya. Ada yang hendak kau
sampaikan, Ode? Gutu Rudi menatapnya.’ [B6, P:
54]
ANIMAL REALISM -
HISTORICAL
-
REALISM
SPORTS STORIES -
According to Lukends (1999), Realistic stories is problem realism and
social issues realism, which are similar in their focus upon problems, were
popular twenty years ago; their situations are realistic or possible. In B6, P: 54
from the quote above, it is illustrated that after magrib they always go to study
at the house of Rudi's teacher. This is very related to the activities of children
who go to study every day when magrib comes.
THEME
EXPLICIT THEME -
IMPLICIT THEME Friendship and Struggle
‘Hanya ada satu cara, “aku berkata mantap. Sejak
semalam aku memikirkan rencana tersebut. “Kita
curi saja dokumennya.” “Cepat atau lambat, kata
Bapak. Dokumen asli itu akan dipegang Pak
Mustar. Kita cari saja di barak pekerja atau di
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kapal pekerja yang sering dinaiki Pak Mustar.
Dokumen itu pasti disimpan disana.’ [B6, P: 267]
SECONDARY
-
THEME
Theme of the novel “Si Anak Badai” is implicit. according to Lukens
(1999), Implicit Theme, a theme that is based on the reader's view because this
theme is not stated precisely at every point in the novel. In B6, P: 267 based on
the description above, it can be concluded that the theme of the novel ‘Si Anak
Badai’ by Tere Liye is about the friendship and struggle of a group of 6th
graders who want to maintain the existence of Kampung Manowa, their
homeland.
CHARACTER
“Berpegangan yang kuat, Ode!” Ditengah ingar
bingar air hujan, geledek, dan debum ombak, aku
meneriaki Ode− menyuruhnya memegang badanku
BY ACTION erat-erat. Sementara kedua tanganku berpegangan
pada dinding kapal.” “Jangan Lepaskan, Ode!”
Aku berseru panik, merasakan pegangan Ode di
badanku berangsur melemah.’ [B6, P: 246]
“Kau sendiri, Za?” Ode balas bertanya. “Aku ingin
menjadi orang yang ahli tentang cuaca. Bisa
BY SPEECH memperkirakan akan turun hujan atau tidak. Bisa
memperkirakan aka nada badai atau tidak.’ [B6, P:
160]
BY APPEARANCE -
BY OTHER'S “Kau bajak laut yang hebat. Kami akan
COMMENT membersihkan kapal ini selama satu minggu jika
kau mau menjawab pertanyaanku.” Aku membrikan
penawaran. “ Hahaha!” tawa bajak laut semakin
keras. Semakin terbahak-bahak. Sementara fatah
menatapku jengkel, berbisik untuk kesekian kalinya,
“kak Za saja yang membersihkan kapal, aku tidak
101
ikutan.’ [B6, P: 3]
BY AUTHOR
-
COMMENT
According to Lukens (1999) in revelation of character There are five
different ways we get to know the character in a story, such us by action, by
speech, by appearance, by other’s comments, and by author’s comments. In B6,
P: 246 from these events, it is interpreted that in the character of the story
Zaenal is a person who has a high concern for the safety of his friend. In B6, P:
160 from the quote it can be implied that psychologically the main character
named Zaenal is described as a child who has aspirations of becoming a
weatherman or a person who wants to work in the field of meteorology. In B6,
P: 3 from these events, it can be seen that Zaenal has an annoying nature that
makes his sister feel uncomfortable with him.
TYPES OF CHARACTER
FLAT CHARACTER -
“Aku harus berhitung cepat. Aku memang bukan
anak nelayan, aku hanya anak pegawai kecamatan.
ROUND
Tetapi pelaut tidak ada urusannya dengan siapa
CHARACTER
orangtua kita. Pelaut sejati mengandalkan
pengalaman dan kecakapan.” [B6, P: 246]
Types of character in novel “Si Anak Badai” is round character.
According to Lukends (1999), a round character is one that is fully developed;
we know this character well, because the many traits are demonstrated in the
action of the story. in B6, P: 246 the attitude Zaenal shows to help Ode who is
102
slipped out of the ship, Zaenal tries to save Ode even though he is also in
danger. He was trying to make a decision that would make a change in his life.
PLOT
NARRATIVE ORDER
“Bapak dituduh terlibat dalam meledaknya kapal
Maju Sejahtera. Kami membawa surat
penangkapan resmi. Kami minta kerja samanya.
“Petugas itu berkata tegas.’ [B6, P: 216]
“Kita lihat situasi dulu.”Aku menahan langkah tiga

temanku. Kami tidak tahu di mana posisi dokumen
itu sekarang. Kami juga tidak tahu kebiasaan para
pekerja di malam hari. Dengan mengamati lebih
CHRONOLOGICAL
dulu, menyusun rencana, semoga misi kami
ORDES
sukses.” [B6, P: 268]
‘Itulah yang terjadi beberapa bulang terakhir .

kami memiliki buktinya, pengacara berhasil
memaksa rekaman itu diputar, disaksika puluhan
wartawan. Maka meledaklah kasus itu. Bahkan
sebelum Utusan Gubernur menyadari rekaman itu
ada, penyidik KPK telah dating dengan cepat.’
[B6, P: 317]
FLASHBACK -
A ccording to Lukens (1999), if a story relates events in the order of
variations. Television pro their happening, the story is in chronological order,
perhaps moving with the characters from one place of action to another and yet
chronological the techniques in literature The writer may make the story line
more complex by showing action. In B6, P: 216 the beginning of the conflict in
this story is when the character of Pak Kapten named Sakai Bin Manaf will be
103
captured by Pak Alex men. They argued that this Pak Kpten was involved in the
incident of the explosion of the ship Maju Sejahtera. in B6, P: 268 Zaenal and
his friend make a plan to infiltrate Pak Kapten ship in order to get information.
In B6, P: 317 the resolution of the conflict ended when Zaenal's plan was
successful. Without thinking they handed over the evidence to their parents and
the information was forwarded to the KPK. Finally Pak Alex was arrested by
the authorities.
KINDS OF PLOT
PROGRESSIVE -
‘Besok aku tidak sekolah." Malim berkata begitu
saat di depan rumahku. Pulang dari shalat Isya.
"Kau mau ke mana?" Aku bertanya. Bukankah
selama ini Malim jarang bolos?
"Cari uang." Malim menjawab pendek, kemudian
bergegas pulang tanpa memberiku kesempatan
bertanya lagi.’ [B6, P: 183]
‘Awang menyikut Ode, menyuruhnya diam dulu.
EPISODIC
"Mengapa kalian masih kemari?" Malim terisak.
Kini dia mengelap ingus di hidungnya dengan
telapak tangan.’
"Kami kawan kau, Lim. Kami tidak akan menyerah
semudah yang kau kira." Aku berkata pelan, "Kau
harus kembali sekolah. Tenang saja, besok-besok,
aku percaya kau bisa menjadi saudagar besar."
[B6, P: 202]
Accorading to Lukens (1999), Some book-length stories for children
have another type of plot, an episodic plot in which one incident or short
episode is linked to another by common characters or by a unified theme. In B6,
104
P: 183 The chapter tells of the beginning and the reason why this Malim
character had intended to stop going to school. In B6, P: 202 in this chapter is
still retelling about malim, zaenal and his two companions, But the story route
presented was already on its way to resolving a conflict, the character malim
who wanted to go back to school.

“Aku tidak mau ditanya-tanya, apalagi oleh anak
ingusan seperti kalian. Aku ini bajak laut. Tidak
PERSON AGAINST ada seorang pun yang berani bertemu denganku.
PERSON Lebih-lebihmengajukan pertanyaan. Berani
sekalian kalian. Dua anak ingusan dating tengah
malam dan hendak bertanya pula.” [B6, P: 3]
PERSON AGAINST
-
SELF
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
Conflict types and roles, according to Lukens (1999), the terms in which
we describe the conflict are not so important. What does matter is that we see
clearly the protagonist and the antagonist. In B6, P: 3 the conflict that occurred
between Zaenal and Bajak Laut character that occurred on his ship. The conflict
occurs because Bajak Laut character does not want to be held by young
children. This explains that Zaenal is involved in the conflation with other
characters.
105
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING
-
UPWARD LINE
A PEAK AND A Expotition
DOWNWARD SLIDE "Pak Alex sudah menjelaskan kenapa dia
terlambat, Wak. Proyek pembangunan pelabuhan
itu sangat penting bagi kita semua. Bukan hanya
untuk kampung Manowa, tapi seluruh kecamatan,
bahkan kabupaten-" Meskipun gentar, cepat atau
lambat Camat Tiong akan membahas masalah
pembangunan pelabuhan. "Aku tidak setuju
pelabuhan itu dibuat." Pak Kapten berkata ketus.’
[B6, P: 137]
Rising Action
“Bapak dituduh terlibat dalam meledaknya kapal
Maju Sejahtera. Kami membawa surat
penangkapan resmi. Kami minta kerja samanya.
“Petugas itu berkata tegas.’ [B6, P: 216]
Climax
“Kita lihat situasi dulu.”Aku menahan langkah
tiga temanku. Kami tidak tahu di mana posisi
dokumen itu sekarang. Kami juga tidak tahu
kebiasaan para pekerja di malam hari. Dengan
mengamati lebih dulu, menyusun rencana, semoga
misi kami sukses”. [B6, P: 268]
Falling Action
“Lupakan berkas kajian itu. Kita berhasil
mendapatkan bukti baru yang tak terbantahkan.”
Bukti apa, Za?” Malim bertanya jengkel. “sejak
tadi siang kau tidak menjelaskan siasat kau dengan
rinci.” Aku menunjukkan bungkusan plastik. “Ini
tape recorder Muria. Tadi aku pinjam sebelum
berangkat. Aku telah merekam semua percakapan
mereka”. [B6, P: 311]
Resolution
“Itulah yang terjadi beberapa bulang terakhir.
106
kami memiliki buktinya, pengacara berhasil
memaksa rekaman itu diputar, disaksika puluhan
wartawan. Maka meledaklah kasus itu. Bahkan
sebelum Utusan Gubernur menyadari rekaman itu
ada, penyidik KPK telah datang dengan cepat.”
[B6, P: 317]
Action Patterent, according to Lukens (1999), plot is more than the
sequence of actions or conflict. It is also the pattern of those actions. If we
oversimplify plot patterns by diagrams, we might de scribe them as a line
slanting upward, a straight horizontal line, or line with a peak and a downward
slide. In B6, P: 137 the stage of conflict emergence (exposition), the emergence
of conflict in this novel is when it arises when the villagers hear that Manowa
village will be used as a port and most of the villagers refuse. In B6, P: 216 the
stage of increasing conflict in the novel “Si Anak Badai” when Pak Kapten is
arrested by the police and the school where Zaenal studied is hunted down. In
B6, P: 268 climax in this story, Zaenal and his friend went to infiltrate Pak Alex
ship to get information and evidence. In B6, P: 311 falling action at this atage,
eventually Zaenal managed to get solid evidence. Then he immediately took the
evidence home to be handed over to his father and the municipality to the
capital and finally handed over to the KPK. In B6, P: 317 resolution stage at
this stage, there was a settlement after the story experienced a climax that
occurred when Zaenal and his friends submitted evidence at the trial that Pak
kapten was innocent and the construction of the Port in Manowa was cancelled.
107
SETTING
TYPES OF SETTING
INTEGRAL -
“Grup rebana akan menyambutnya, bernyayi
sambil mengiringi ke mana pun pejabat itu
pergi. Mirip arak-arakan pengantin.
Begitulah, dari rumah Wak Sidik lumrah
terdengar lagu-lagu kasidahan.
Perdamaian, perdamaian
Perdamaian, perdamaian
Banyak yang cinta damai
Tapi perang makin ramai
Lagu itu terdengar sampai ujung-ujung
jalan papan ulin. Bapak-bapak ikut
bersenandung saat memperbaiki jala atau
BACKDROP menambal perahu”. [B6, P: 109]
“Inilah kampungku, Kampung Manowa. Di
sini, seluruh rumah warga berada di atas
air. Kokoh berdiri dengan tiang-tiang
yang ternanam di dasar muara. Bukan hanya
rumah, masjid dan sekolah juga di atas
air. Sebagai penghubung antara satu rumah
dengan rumah lainnya, juga penghubung
kampung kami dengan dataran, dibangun
jembatan yang terbuat dari papan ulin
selebar satu setengah meter. Itulah jalan
papan ulin tempat kami berlalu-lalang.
Penduduk juga menggunakan prahu untuk
berpergian.” [B6, P: 18]
According to Lukens (1999), although time and place have importance,
they do not influence the character and plot is backdrop setting, in the same
ways that an integral setting does. In B6, P: 109 based on the quote above, it
108
can be concluded that the setting of the story is in the 2000s. This is quite
clearly illustrated by the song of the kasidah group Nasida Ria which was
indeed popular that year. In B6, P: 18 based on the quote above, it can be
concluded that the setting of the story is in the 2000s. This is quite clearly
illustrated by the song of the kasidah group Nasida Ria which was indeed
popular that year.
POINT OF VIEW
FIRST-PERSON “Aku berdiri di geladak utama kapal yang luas
POINT OF VIEW dengan lantai kayu yang terasa licin”. [B6, P: 1]
OMNISCIENT POINT
-
OF VIEW
LIMITED
OMNISCIENT POINT -
OF VIEW
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
According to Lukens (1999), The first-person narrator is limited; like
us, he or she cannot tell what another character thinks unless told by that other
character. Although the narrator sees the action of another character, the
narrator, again like us, can only speculate about what the other is thinking. The
novel's point of view is the first-person point of view (aku). The point of view
used by the author in narrating the events that occurred in this story is the first-
person point of view marked by using “Aku” B6, P: 1
109
STYLE
CONNOTATION “Bayangannya sudah membungkus kami.”
[B6, P: 3]
IMAGERY -
FIGURATIVE Metafora
“kasihan apanya? Nahkoda itu ‘makan gaji’, Za”.
LANGUAGE
[B6, P: 12]
HYPERBOLE -
UNDERSTATEMENT -
ALLUSION -
SYMBOL -
PUNS AND
-
WORDPLAY
According to Lukens (1999), style is basically words, how an author
says something as opposed to what he or she says. From infinite numbers of
words available, the writer chooses and arranges words to create a particular
story. Many of these stylistic devices are listed in dictio anies of literary terms;
connotation, imagery, figuratif language, hyperbole, understatement, allusion,
symbol, and puns and wordplay.
Conotation, based on the quote above, it is a style of parable language
because it compares something different, where the shadow in the quote is a
comparison. The author compares a person to a shadow. as if it showed that
someone was already nearby. Logically, the shadow has nothing to do with
humans, but the author seems to make the shadow like a human being. B6, P: 3.
Figurative language; Metafora, in the above quote there is the word ‘makan
110
gaji’. The citation is categorized as a metaphorical style of language, ‘makan
gaji’means to misappropriate money that does not belong to him. B6, P: 12.
MENTAL HEALTH
Ego
“Sekolah tidak ada gunanya, Za.”Oi! Aku hampir
tidak percaya mendengarnya. “kita tetap bisa
mencari uang tanpa harus sekolah. Kauperhatikan
saja, Bang Kopli itu lulusan SMA. Jauh dia sekolah
ke kabupaten. Jadi apa dia sekarang? Buka warung
MENTAL HEALTH kopi di dermaga.” [B6, P: 185]
PROBLEM
“Cita-citaku menjadi saudagar besar. Itu tidak
butuh sekolah. Aku akan mengumpulkan uang sedikit
demi sedikit. Besok kubelikan kapal-kapal besar.
Kapal kontainer. Kapal pesiar. Aku akan menjadi
pemilik banyak kapal. Itu semua tidak perlu
sekolah.” [B6, P: 186]
According to sigmund Freud it states that the life of the soul has three
levels of consciousness, i.e. or conscious, prejudicial or otherwise
preconscious and unconscious or unrealistic. Topography or map of
consciousness it's used for decryption elements in each event mentally like
thinking and fantasizing. Until the 1920s, a theory of psychological conflict
involves only those three elements of consciousness. Not until 1923 did
Freud introduce three other structural models, which is id, ego and superego.
111
According to the journal on the analysis of the id, ego and superego,
the ego develops from the id so that people are able to deal with reality; so
that the ego operates according to the reality principle; the effort to obtain
the satisfaction demanded by the id by preventing the occurrence of new
tensions or delaying pleasure until an object that can actually satisfy the need
is found satisfying the need. The principle of reality is worked through
process secondary (secondary process), which is being realistic about the
plan and testing whether the plan produced the intended object. Process the
test is called reality test carried out appropriate action with a factually
realistic plan in mind.
From this explanation, in B6, P: 185 and B6, P: 186 the character of
malim prioritizes his ego who chooses to quit school and go to pursue the
satisfaction of his ambition, which is to become a big merchant who can buy
many ships. Malim thinks that go to school is just wasting time, according to
him as long as we are successful people we will be able to get anything in
their life.
7. Analysis Of ‘Dear Nathan’ By Erisca Febriani
112
MYSTERIES AND
-
THRILLERS
‘Hidup itu ibarat bumbu. Kalau semuanya manis,
nggak bakal nikmat. Tapi Tuhan sengaja ngasih
ROMANTIC
percikan-percikan pedas dalam hidup supaya
STORIES
kamu tau gimana sensasi nikmatnya.’
[B7, P:106]
SERIES NOVEL -
According to Lukes (1999), Romantic Stories This term is more often
used nowadays to describe stories that are free of imaginative and scenes and
events that are very far from ordinary life. a romantic one where it is very
imaginative and very deep. In B7 P:106
THEME
EXPLICIT THEME -
High school love
“rahma meredahkan volume suaranya “ tadi lo
IMPLICIT THEME nembak salma? Ekspresi bingung yg awalnya
tergambar di wajah nathan berubah menjadi
seculas senyum tipis.’ [B7, P:221]
SECONDARY
-
THEME
The theme of the novel “Dear Nathan” is high school romance, this is
categorized as an implicit theme. This is based on Lukens' (1999) statement
that implicit themes are themes based on the reader's point of view because
they are not mentioned precisely at every point in the story. However, it can
113
be based on events in the story that show a type of Implicit Theme, a theme
that is based on the reader because this theme is not stated precisely at every
point in the novel. In B:7 P:106 I can conclude that the theme of the novel
dear nathan is an implicit theme because the quote that I take clearly describes
the theme of the novel dear nathan.
CHARACTER
‘nathan menghampiri kakak kelas itu, dengan
tangannya yg terkepal sejak tadi, segera meninju
BY ACTION perut sang lawan tanpa aba-aba hingga
terjerembab jatuh dari motornya’ [B7, P:32]
“Terus aja belain dia, emang selalu Aldo yang

baik. Dan saya diposisi yang buruk. Saya tipe
orang yang berprinsip, meskipun kamu maksa,
nggak bakalan saya mau minta maaf di depan
dia”. [B7, P:368]
‘ini juga rumah Mama. Papa membangun rumah

BY SPEECH
ini dengan Mama, saya nggak akan biarin rumah
ini dijual begitu aja.
Nathan masih mempertahankan prinsipnya dari
dulu. apa yang baginya harus dipertahankan,
maka akan dia pertahankan sampai mati.’
[B7, P:416]
‘Salma memperhatikan cowok itu. Kemeja

sekolahnya tidak di masukkan kedalam celana,
tidal memakai dasi rambutnya sedikit melewati
BY APPEARANCE kerah, dan dua kancing teratas kemejanya tidak
terkancing, sehingga kaos putih dalam terlihat’
[B7, P:6]
BY OTHER'S “Pacar kamu dek? “ mama salma sambil
114
menyikut lengan salma
“ apasih ma, bukan , temanku “
COMMENT
“ ganteng dek “ [B7, P:64]
BY AUTHOR
-
COMMENT
A character used to mean a person and the personified animal or
object. Lukens (1999:80) By what the character does, what the character says,
the physical appearance of the character, what other characters say and feel
about the character, and from what the writer says about the character. Based
on actions B7, P:32 With words B7, P:368. B7, P: 416 based on apprance B7,
P:6 by other people comment B:7P:64 “From the quote that I took I can
concluded Nathan, someone is someone who doesn't want to be oppressed and
dares to fight and someone who has a stand and defends what he loves and has
an appearance that looks like a thug, naughty and sloppy but has a handsome
face.
TYPES OF CHARACTER
FLAT CHARACTER -
ROUND ‘Akhirnya, Nathan muncul sebagaipahlawan. Dia
CHARACTER bangun darijongkoknya lalu membawa junior
yang sudah nyaris semaput itu keUKS, tanpa
memerdulikan teriakan senior yang menyuruhnya
untuk tetap posisinya.’ [B7, P:17]
‘Tangan nathan terkepal geram padahal sudah
dari jauh hari nathan dan papanya bersikukuh
dan mempertahankan rumahini “ cukuppah “
115
nathanberteriaklepas kendali tanpa menyadari
dia berteriak di depan orangt ua, sudah cukup
nathan bersabar” mama baru saja meninggal dan
papa menjual rumah ini” katanya tidak percaya “
papa gak akan mendengarkan permintaan saya ,
nathan gak rumah ini” katanya tidak percaya “
papa gak akan mendengarkan permintaan saya,
nathan gak maujual rumah ini.’ [B7, P:416]
Types of character of this novel Characters are round, complex and
develop, sometimes quite surprising the reader. The fully developed round
character fits perfectly with the nathan character in the dear nathan novel,
meaning we know a lot about the character readers may even be able to
anticipate the actions of round characters if the characterizations are done well
and consistently. Plot For Children's Story, the character bull B7, P:17. B7, P:
416 I can conclude that nathan is a round character from the quote that I took
because Nathan's character changes depending on other characters' attitude
towards him from being rude to a character who kind and considerate.
PLOT
NARRATIVE ORDER
CHRONOLOGICAL ‘Akhirnya pilihannya jatuh ke SMA garuda yg
ORDES termasuk SMA favorit di jalarta.’ [B7, P:10]
‘Pertemuan antar kedua sahabat itu berakhir di

pintu. Nathan segera naik ke motornya dan
membawa kendaraan itu ke rumahnya sendiri.’
116
[B7, P:454]
“secercah harapan
Dan juga kebahagian
tidak terlukis bagaimana rasanya
Intinya nathan benar-benar bahagia
Adik kamu sudah lahir’ [B7, P:515]
FLASHBACK -
Narrative order in the short story "Dear nathan" Entered in the
chronological order, Lukens (1999) that the story relates event in the order of
their happening. This can be seen in the sequence of events in B7, P:10 and
B7, P:454 and B7, P:515 where the event from school to home continues to
the hospital.
KINDS OF PLOT
nathanberteriaklepas kendali tanpa menyadari
PROGRESSIVE dia berteriak di depan orangt ua, sudah cukup
nathan bersabar” mama baru saja meninggal dan
papa menjual rumah ini” katanya tidak percaya “
papa gak akan mendengarkan permintaan saya ,
nathan gak maujual rumah ini.’ [B7, P:416]
EPISODIC -
Kinds of Plot in this short story is categorized as progressive plots.
This is based on Lukens's (1999) statement that progressive plots come to a
climax and conclude with a denouement. This is shown in B7, P:416 where
117
nathan is very upset with his father who wants to sell the house of nathan's
recently deceased mother.

“Kacang lupa kulitnya. Dia nggak inget gimana
pengorbanan Mama dulu. Papa bisa kaya, itu ada
prosesnya. Gue enggak bakal ngelupain proses
Mama ngedukung Papa dulu sebelum dia berhasil
kayak sekarang. Waktu Papa sakit, siapa yang
PERSON AGAINST rela ngutang sana-sini cuma buat beli obat Papa?
PERSON Mama gue yang mau begitu gitu, Sel. Tapi
sekarang, jangankan mau nemenin Nyokap gue,
jenguk aja dia udah nggak mau. Bener-bener
Bokap sialan!” Nathan segera memotong
penjelasan Seli.’ [B7, P:344]
‘Nathan mengangguk, dia segera turun dari

motornya dan masuk ke adalam paviliun,
melewati ruang depan yang terang dan berudara
segar, lalu ke ruang duduk dan melihat seorang
wanita cantik terawat sedang duduk di depan
jendela. Wanita itu menoleh saat mendengar
suara langkah kaki. “Daniel!” pekiknya gembira.
PERSON AGAINST
“Akhirnya kamu datang!”Langkah Nathan
SELF
sempat terhenti, menatap perawat yang ada di
sampingnya selama beberapa detik. Ada raut
wajah terkejut di matanya-berganti dengan
kecewa, tapi hanya sedetik, karena selanjutnya
Nathan meneguk ludah sambil melanjutkan
langkahnya.’ [B7, P:65]
‘Soalnya gue kenal banget sama itu. anak, lo

murid baru, nggak ikut MOS, jadi nggak tau
gimana "kenakalan dia.""Separah itu?""Lo tau
PERSON AGAINST gara-gara ketua OSIS yang sebel satu orang, kita
SOCIETY semua kena getahnya, disuruh lompat jongkok
seratus kali di lapangan. Karena tuh anak.’
[B7, P:18]
118
PERSON AGAINST
-
NATURE
Conflict types and roles According to Luken's book, conflict occurs
when the protagonist fights against an antagonist, or opposing force. in short,
it is conflict that, added to the narrative sequence, makes up the plot. There
are three main types of conflict, Person again person, where two (or more)
characters are in conflict. B7, P:344 so in the quote nathan is at odds with his
father who doesn't pay attention to nathan's mother who is sick. Person
Against Self, Where the character faces an internal struggle B7, P:65 Where
Nathan holds the role of Daniel his deceased twin brother from his mother
who still thinks Daniel is still alive. Person Against Society, where conflict
stems from an unjust social climate. B7, P:18 Here it is told that Salma is still
resentful of Nathan because because of Nathan, all the student council
children were told to jump squat a hundred times.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
A SLANTING “Mama ingin keluar, ayo kita jalan-jalan!”
UPWARD LINE Nathan mengatup kan bibirnya rapat-rapat,
menahan agar tangisnya tidak keluar. Cowok itu
memalingkan wajah. “Daniel, kenapa diam saja?
Mama ingin jalan-jalan! Ayo, kita maen kepasar
malam, Mama ingin makan gulali!” Wanita itu
menatap Nathan penuh harap.” [B7, P: 66]
119
“Kacang lupa kulitnya. Dia nggak inget gimana
pengorbanan Mama dulu. Papa bisakaya, itu ada
prosesnya. Gueenggakbakalngelupainproses
Mama ngedukung Papa dulu sebelum dia berhasil
kayak sekarang. Waktu Papa sakit, siapa yang
relangutangsana-sinicumabuatbeliobat Papa?
Mama gue yang mau begitu gitu, Sel. Tapi
sekarang, jangan kan mau nemenin Nyokapgue,
jenguk aja dia udah nggak mau. Bener-
benerBokapsialan!” Nathan segera memotong
penjlasan Seli.’ [B7, P:344]

nathan berteriak lepas kendali tanpa menyadari
dia berteriak di depan orang tua,
sudahcukupnathanbersabar” mama baru saja
meninggal dan papa menjual rumahini” katanya
tidak percaya “ papa gak akan mendengarkan
permintaan saya , nathan gak mau jual rumah
ini.’ [B7, P:416]
A PEAK AND A
-
DOWNWARD SLIDE
Action Patterns, these are mainly three pattern forms of the action,
Upward slash The first pattern moves from one incident to another related
incident, builds on the discovery, and changes towards a final climax which
brings the action to a climax and ends there B7, P: 66 is the initial conflict of
the novel dear nathan and his mother who thought nathan was daniel who had
died a long time ago B7, P:344 here is the conflict towards the climax where
natan's father started to ignore his sick mother B7, P:416 the climax of the
dear nathan conflict where nathan was very angry with his father who wanted
to sell the house of nathan's mother who had just died.
120
SETTING
TYPES OF SETTING
INTEGRAL -
‘Surga bagi anak. SMA garuda sebenarnya:
seusai panas-panasan di sambut pelajaran
matikmatika yg membosankan.’[B7, P:8]
‘ni juga rumah Mama. Papa membangun rumah

ini dengan Mama, saya nggak akan biarin rumah
ini dijual begitu aja.’ [B7, P:416]
BACKDROP
‘Loh, nggak masuk dulu, nak? Minum dulu di
dalam.
Nggak usah, tan, saya mau ada urusan. Nathan

segera menganggukkan kepala dan sedikit
membungkukkan punggungnya sopan. Saya
duluan, tante.’ [B7, P:63]
Setting helps build the atmosphere of the story (Lukens 1999:153) The
setting in the novel dear nathan is very suitable when the story is timeless and
the author does not specify the time or place of the incident. B7, P:8 At the
beginning of the story, the story is told about the atmosphere of Garuda High
School which is not clear where it is B7, P:416. The setting is told about
Nathan's mother and father's house, which only includes the house without a
detailed explanation B7, P:63 salma's house setting in nathan's quote takes
salma to his house.
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
OMNISCIENT POINT “Salma mungkin bisa bilang begitu, dia tidak
121
mau diantar pulang lagidengan Nathan. Tapi
Nathan ternyata berhasil melakukan hal diluar
OF VIEW
logika. Cowok itu menunggunya dari pagi sampai
sekitar jam satusiang”. [P:318]
LIMITED
OMNISCIENT POINT -
OF VIEW
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
Point of view is the thought through which the reader sees the story
(Lukens 1999:175) The second possibility is the omniscient point of view.
Here the witer, who tells his story in third person (he, she, they) point of view
on nathan's novel I can conclude omniscient point of view according to
lukens, omniscient or omniscient about every and every detail of conscious
actions, thoughts, and feelings or unconscious-in the past, present, or future; if
the author chooses. B7, P:318 from here the author tells that Salma doesn't
want to be with Nathan but Nathan is waiting for Salma from here I can
conclude from the quote seen from a third person point of view.
STYLE
‘nada suara orlin terdengar seolah dia
CONNOTATION sherlockhomes yg berhasil memecahkan sebuah
masalah’ [B7, P:219]
IMAGERY “Akhirnya lo kena virus cinta gue “ [B7, P:154]
FIGURATIVE
-
LANGUAGE
122
HYPERBOLE -
UNDERSTATEMEN
-
T
“ biarin tau rasa “ tuhkan emang dasar setan
ALLUSION
titisan jin tomang” [B7, P:193]
SYMBOL -
PUNS AND
-
WORDPLAY
Style is basically words, how a writer says something that contradicts
what he says. From the infinite number of words available, the writer selects
and arranges words to create a particular story, the best words and settings for
that story (Lukens 1999: 195) Connotation is the associative or emotional
meaning of a word. B7, P:219 from the quote given which seems to give
emotion and I conclude it has connotations. Imagery is an appeal to one of
the senses; it helps create a setting, build a mood, or show character. We use
imagery in our daily conversations to describe sounds, smells, and sights. B7,
P:154. in the quote on the page the style given is figurative words so that the
atmosphere and words are considered more interesting. A figure of speech, a
figure of speech, may only have meaning for the mature reader, because it
relies on recognizing references to something in our common understanding,
our past, or our literature. B7, P:193 From the quote that the page uses, the
style is a bit difficult to understand for readers who are immature or don't have
a little vocabulary.
123
MENTAL HEALTH
Mental pressure
“Mama ingin keluar, ayo kita jalan-jalan! Nathan
mengatup kan bibirnya rapat- rapat. Menahan
MENTAL HEALTH agar tangisnyat idak keluar. Cowok itu
PROBLEM memalingkan wajah, ―Daniel, kenapa diam saja?
Mama ingin jalan-jalan! Ayo, kita main kepasar
malam, mama ingin makan gulali! wanita itu
menatap Nathan penuh harap.’ [B7, P:66]
Mental stress can be caused by various things that make you nervous,
angry, and deeply frustrated, for example after a divorce, the death of a family
or close friend, getting laid off from work, or experiencing frequent bullying
B7, P:66 I conclude that Nathan has endured very strong mental pressure for
years since the death of Daniel, who is dead and Nathan who is considered
Daniel by his sick mother and the result of Daniel's death is when he helps
Nathan who is being beaten.
8. Analysis Of “Orang Orang Biasa” By Andrea Hirata
GENRE: REALISM
REALISTIC ‘Aku sudah tau itu dari dulu, Nah! Kita belum
STORIES merdeka dalam pendidikan! Kita sekolah masih
macam orang terjajah!.’ [B8, P:78]
‘Kau kerja sampai presiden berganti-ganti lima

belas kali, gaji pelayan warung kopi takkan cukup
untuk kuliah kedokteraan, Nong!’ [B8, P: 105]
‘Waktu sekolah dulu, bercita-cita saja kita tak
124
berani, kita selalu dihina karena bodoh. Kini anak
kawan kita diterima di Fakultas Kedokteraan. Aku
mendukung! Aku siap merampok!’ [B8, P: 85]
ANIMAL REALISM -
HISTORICAL
-
REALISM
SPORTS STORIES -
If taken from the definition of Realism according to tokens (1999).
The Realiom genre in this story is included in Realistic Stories. This is based
on Luken’s assertion that a realistic story has several events such as those
that occur in some action that holds our interests set in several possible
places and times. As in B8, P: 78,85,105 which questions social problems as
well as in education and government.
THEME
EXPLICIT THEME -
‘Debut menjelaskan pada Salud bahwa mereka
merampok bank untuk mencari dana demi
IMPLICIT THEME membayar uang kuliah anak Dinah yang mau
masuk Fakultas Kedokteran, bukan untuk hal lain.
Salud tersenyum.’ [B8, P: 135]
SECONDARY
-
THEME
This novel uses an implicit theme because it is not explained directly
by the author, so the readers will guess the theme used in this novel. Andrea
Hirata’s novel Orang Ordinary covers the theme of disappointment with the
reality of education in Indonesia and the struggles of ten ordinary people who
125
have been friends since high school. Friendship consists of 10 people, namely
Salud, Junilah, Nihe, Dinah, Handai, Sobri, Honorun, Rusip, Tohirin, and
Debut, in B8, P: 135.
CHARACTER
“Aku Debut Awaludin! Pemimpin sepuluh
sekawan! Berdiri kau dibelakangku, Lud! ”Salud
BY ACTION
bergeser ketakutan lalu berlindung di belakang
Debut.’ [B8, P: 19]
‘Waktu sekolah dulu, bercita-cita saja kita
takberani, kita selalu dihina karena bodoh,
BY SPEECH kinianak kawan kita diterima di
Fakultaskedokteran. Aku mendukung! Aku
siapmerampok!’ [B8, P: 85]
BY APPEARANCE -
BY OTHER'S
-
COMMENT
‘Salud adalah lelaki penyendiri, dan itu
bukankarena pilihan. Jika sedang bekerja,
BY AUTHOR duduktermengu dia diambang jendela dirumah
COMMENT dengan stiker bertulisan megah melingkar, yang
tertempel dipintunya; Rumah BantuanDesa.’
[B8, P: 36]
In B8, P:19 Awaludin’s debut was the leader of ten friends! The brave
one. In B8, P:85 they are ready to rob because they do not want to be
considered contemptible and have no ideals. In B8, P: 36 tells about Salud is a
loner man, and it is not by choice.
TYPES OF CHARACTER
FLAT CHARACTER -
126
‘Ibu Atika, dia memang bukan tepe orang yang
ROUND sukamengumbar-umbar masalah pribadinya, dan
CHARACTER dialelah selalu berusaha gembira didepan
keduaputrinya.’ [B8, P: 72]
Types of character are round characters. This is based on Lukens’s
(1999) statement that round characters are fully developed characters,
meaning we know a lot about characters; readers may even be able to
anticipate the actions of round characters if the characterizations are done well
and consistently. As in Atika’s mother, who was not the type of person who
previously spoke about her personal problems but she always tried to be
happy in front of her daughter B8, P: 72.
PLOT
NARRATIVE ORDER
CHRONOLOGICAL Rising Action
ORDES “Semua uang di duniia ini ada di bank! Anakmu
harus masuk Fakultas Kedokteran itu! Apapun
yang akan terjadi! Seorang ibu rela memotong
tangannya demi anaknya! Hapus air maatamu,
Dinah! Siapkan dirimu! Siapkan dirimu baik-baik!
Karena kita akan merampok bank itu!” [B8, P: 79]
The Climax
‘Tiba-tiba hape Dinah berbunyi. Ada SMS dari
Debut. Terbelalak Dinah melihat SMS itu. Debut
sangat serius sebab dipakainya huruf besar.
BATALKAN! BATALKAN! DASAR KALIAN
AMATIR SEMUA! TERLALU BANYAK HABIS
WAKTU UNTUK KEJUTAN! WAKTU TEKOR!
KABUR SEKARANG!
Dinah menjawab SMS. Tapi, kami telah di muka
brankas, Bos. Tak sabar, Debut menelepon, Dinah
127
menerima telepon. “Kabur sekarang juga!
Sekarang juga!” “Ta,,,, tapi brankas siap dibuka,
Bos!” “Peduli Setan! Siapa saja di situ?” “pe…
tugas bank, Handaito, Akuno.” “Kabur sekarang
juga! Petugas itu bisa menggulur waktu membuka
brankas dan menghabiskan waktu kalian!.
Gagalkan rencana! Kabur!’ [B8, P: 186-187]
The Resolution
“Maaf, kawan, uang korupsi, uang haram, sesen
pun aku tak mau menyeekolahkan anakku dengan
uang ini.” Yang lain tersenyum seakan setuju akan
pandangan itu. “Kami sudah sepakat untuk
mengumpulkan uang, menjual apa saja yang bisa
dijual, meminjam dari mana saja, berdemo, mogok
makan, apa saja asal anakmu dapat masuk
Fakultas Kedokteran itu, Dinah. Kami pun tak mau
uang itu,” kata Nihe. Dinah terharu.’ [B8, P: 224]
FLASHBACK -
In B8, P: 79 they are all ready to commit robbery so that Aini can still
enter the Faculty of Medicine. In B8, P: 186-187 Dinah’s cellphone received
an SMS and told them to run away immediately. In B8, P: 224 they all agreed
to return the stolen money because none of them wanted illicit money.
KINDS OF PLOT
PROGRESSIVE The Climax
KABUR SEKARANG!
brankas, Bos. Tak sabar, Debut menelepon, Dinah
menerima telepon. “Kabur sekarang juga!
128
brankas dan menghabiskan waktu kalian!
Gagalkan rencana! Kabur!” [B8, P: 186-187]
EPISODIC -
In B8, P: 186-187 They fled to save themselves and managed to bring
the loot.

“Tatap, tataplah mataku, aku berjanji padamu
PERSON AGAINST akan menangkap pelaku kejahatan ini. Aku akan
PERSON mengejarnya sampai ke ujung dunia sekalipun!”
[B8, P: 239]
PERSON AGAINST
-
SELF
PERSON AGAINST
-
SOCIETY
PERSON AGAINST
-
NATURE
Conflict types and roles of the short story Why Di Regret, namely
person against person This is based on Lukens’ (1999) statement regarding
Person Against Person, where two (or more) characters are in conflict. In B8,
P: 23.
ACTION PATTERN
A HORIZONTAL
-
STRAIGHT LINE
129
A SLANTING
-
UPWARD LINE
A PEAK AND A The Exposition
DOWNWARD SLIDE ‘Aini kembali kecewa melihat ibunya keluar dari
ruko itu dengan wajah sembap sambil
menggeleng-geleng. Ini adalah koperasi simpan
pinjam kelima atau terakhir yang telah mereka
datangi, dan semua menolak usulan pinjaman
dari ibunya. Kemarin mereka mendatangi semua
bank kecuali sebuah bank yang sangat megah,
banyk kacanya, yang masuk ke dalamnya saja
mereka sungkan apalagi meminjam uang. Seluruh
bank itupun telah menolak usulan pinjaman
Dinah.’ [B8, P: 70]
Rising Action
“Semua uang di duniia ini ada di bank! Anakmu
harus masuk Fakultas Kedokteran itu! Apapun
yang akan terjadi! Seorang ibu rela memotong
tangannya demi anaknya! Hapus air maatamu,
Dinah! Siapkan dirimu! Siapkan dirimu baik-
baik! Karena kita akan merampok bank itu!” [B8,
P: 79]
The Climax
KABUR SEKARANG!
brankas, Bos. Tak sabar, Debut menelepon,
Dinah menerima telepon. “Kabur sekarang juga!
brankas dan menghabiskan waktu kalian!’
Gagalkan rencana! Kabur!” [B8, P: 186-187]
130
Falling Action
‘Inspektur membuka bungkusan kertas itu. Tebal
duit pecahan tertinggi di dalamnya, baru, dan
masih terikat label dari bank. Sepintas dia tahu
belasan juta jumlah uang itu.”
“Sepi di jembatan saat itu. Tak ada siapa-siapa.
Tak ada orang yang melihatnya menerima uang
itu dan ingat, dia tidak meminta uang pada siapa
pun. Kedua alasan itu selalu lebih dari cukup
untuk membuat seorang aparat mengkhianati
sumpah jabatannya.’ [B8, P: 124-125]
The Resolution
“Maaf, kawan, uang korupsi, uang haram, sesen
pun aku tak mau menyeekolahkan anakku dengan
uang ini.” Yang lain tersenyum seakan setuju
akan pandangan itu. “Kami sudah sepakat untuk
mengumpulkan uang, menjual apa saja yang bisa
dijual, meminjam dari mana saja, berdemo,
mogok makan, apa saja asal anakmu dapat
masuk Fakultas Kedokteran itu, Dinah. Kami pun
tak mau uang itu,” kata Nihe. Dinah terharu.’
[B8, P: 224]
The action pattern in this short story is categorized into a peak and a
downward slide, based on Lukens’s (1999) basis that the story rises to a peak
or climax and then clearly ends. As in B8, P:70 Aini is disappointed because
all the banks refuse to lend her money. Dalam B8, P:79 prepares a plan to rob
the bank. In B8, P: 186-187 robbed bang and ran away with money. B8, P:
124-125 returned the stolen money. And B8, P: 224 realized that they could
not eat haram money.
SETTING
131
TYPES OF SETTING
INTEGRAL -
‘Belantik adalah kota ukuran sedang paling aman
dan paling naif di seluruh dunia ini. Suatu kota di
BACKDROP
pinggir laut yang penduduknya telah lupa cara
berbuat baik.’ [B8, P: 5]
Occurs when the story is not limited by Time According to (Lukens
1999:153) Setting The setting is generalized from a relatively unimportant
setting. It’s like in B8, P: 5 that this story takes place in a belantic city called
nave.
POINT OF VIEW
FIRST-PERSON
-
POINT OF VIEW
‘Dari luar Aini melihat beberapa perawat
OMNISCIENT POINT menekan
OF VIEW alat-alat pacu jantung di dada ayahnya.’[B8, P:
34]
LIMITED
OMNISCIENT POINT -
OF VIEW
OBJECTIVE
(DRAMATIC) POINT -
OF VIEW
I will tell you, this is omniscient point of view The writer in this case
may recount relevant information about any and every character-their
thoughts, ideas, and feelings about themselves as well as others, Lukens
(1999), as in B8, P: 34.
132
STYLE
CONNOTATION -
IMAGERY -
FIGURATIVE
-
LANGUAGE
HYPERBOLE -
UNDERSTATEMENT -
ALLUSION -
Alat Pacu Jantung
“Dari luar Aini melihat beberapa perawat
SYMBOL
menekan alat-alat pacu jantung di dada
ayahnya.” [B8, P: 34]
PUNS AND
-
WORDPLAY
Pacemaker In B8, P: 34 describes that the tool determines the life and
death of the father of Aini.
MENTAL HEALTH
MENTAL HEALTH
Pessimistic
PROBLEM
‘Aini menyedikan diri untuk berhenti sekolah dulu demi merawat ayah
yang sangat disayanginya itu.’ [B8, P: 32]
According to the journal pessimistic meaning, characteristics and
Examples in everyday life , namely having changes in emotions and turning
into pessimists, this disorder is very influential for yourself and the career you
run. In this novel, the main character Aini, experiences financial pressures and
poor family conditions that require her to accept the fact that she did not
133
continue her education to medical school because she did not have the money
to pay for her tuition and chose to take care of her father. As in B8, P: 32.
B. DISCUSSION
1. Literature elements
The structure of the four novels and the four short stories examined in this
study are literature elements that fulfill the standard of children’s literature on
general. Based on the literature that we examined, there are only two types of genres.
The first is romantic stories and also realistic stories. The first four literary works
with the theme of romantic stories present stories by raising the sentimental
relationship between male and female. However, there is one story, namely the novel
134
“Dear Nathan” whose presentation of the story is considered inappropriate for
children because the interactions told in the novel are considered to show too intense
relationships between male and female. Therefore, it would be better if in reading the
novel children need to be accompanied by their parents. Then for the four literary
works with the theme of realistic stories, they really present stories in accordance
with the reality of existing human problems. For example, in one of the short stories
“Senyum Rahasia” which raises problems in the relationship between children and
mothers with conflicts that occur between them which reflects how family problems
usually occur. The theme used in all literary works, both novels and short stories
examined, is an implicit theme. Which is considered a suitable theme for children
because this type of theme can be part of the reader itself which can also expand their
understanding. Then the main characters of all these novels and short stories are also
fully developed in the various problems they face to how they create solutions to
these problems. Moreover, it can be said that the type of character in all of these
stories is a round character that is really needed for childrens with the realities of life
depicted in them. Furthermore, the plot in this case, only one novel out of four novels
tells the events using a storyline that reviews the past or is included in the flashback
narrative order. While the rest are three novels and four short stories telling events
based on the order in which they occur, including chronological narrative order.
Therefore, the plot it is concluded that the most widely used to tell the events that
occur in the story is the chronological order. That's because the categories of plots
that are suitable for children will be easier to understand if what is presented is based
135
on the order in which it occurs. Furthermore, for the type of plot, there are two novels
which are episodic plots and the remaining two novels and four short stories are
progressive plots. As in the book J. Lukens (1999) it is said that there is no correct
type of plot, whether it is progressive or episodic. That is evident in the eight literary
works that we studied, where each story has its own charm. Whether it's a story with
a progressive plot that reaches a climax and ends with an ending, or a story with an
episodic plot that has each conflict in each chapter that makes the reader interested in
following the continuation of the story. Like in the novels “Hujan” and “Si Anak
Badai” which are stories with plots where incidents or each chapter are connected
with the same character and theme, but separated by conflict per chapter. In the
setting of the story, both in place and in time, there are interesting things among all
the literary works that we study. where there is one novel and one short story which
explain the setting in the story integrally and also the backdrop. It is found in the
novel “Hujan” and the short story “Kisah Sie Sie” where the author not only
explains the setting as a background setting that will adjust the storyline, but also
describes the setting of the place, time and atmosphere in the story clearly.
Furthermore, in terms of point of view, based on the literary works that we examined,
there were four that used omniscient point of view, namely the novels “Dear
Nathan” and “Orang-Orang Biasa” as well as the short stories “Buat Apa Disesali”
and “Kalau Semua Wanita Jelek”. Then two other works using Limited Omniscient
point of view, namely the novel “Hujan” and the short story “Kisah Sie Sie”, the rest
are literary works that use the first point of view, namely the novel “Si Anak Badai”
136
and the short story “Senyum Rahasia”. Similar to the type of plot, the use of point of
view in telling the story also does not have the type of point of view that is said to be
the best of the three, because the credibility of a story depends on the consistency of
the point of view. And lastly for style, the eight literary works that we studied used
almost all existing styles, except for understatements.
LITERATURE ELEMENTS
Flashback
Chronological
Round
Flat
Backdrop
Integral
Implicit
Explicit
0 1 2 3 4 5 6 7 8 9
Theme Character Plot Setting
2. Mental Health Studies
Of the eight literary works, both novels and short stories, that we examined
based on psychology, this analysis focuses on the mental health of the characters in
the stories. Based on what Fakhriyani (2019) said, mental health itself has two
meanings. The first, mental health is the condition of people who are not mentally
healthy or have mental disorders. Second, mental health is the condition of people
who are mentally healthy. Therefore, if you look at all the problems experienced by
the characters in each story, it refers to the first understanding where all the characters
137
are in an unhealthy state of mental. The mental health problems that most often arise
are trauma, followed by ego, insecurity, and pessimism. It can be seen in the novel
“Hujan” and the short stories “Kisah Sie Sie”, “Buat Apa Disesali” and “Senyum
Rahasia” where the mental health problem experienced by the main character is
trauma. Which trauma they get from the problems that occur in their family. Whether
that's what happened from the conflict in relationship, conflict between husband and
wife, or the conflict between parents and children. Then for the novel “Si Anak
Badai”, it raises mental health problems in the form of ego, where the character is in
conflict with himself to try to make decisions based on feelings of satisfaction and
realistic decisions in his life. Even to the point of having mental health insecurity,
pessimist and stress problems that are interrelated. Where it can be seen that today's
teenagers tend to feel insecure easily when they feel that their situation is different
from the people around them to the point where they are stressed to the point of being
pessimistic with everything they want to do. And that is what was raised in the short
story “Kalau Semua Wanita Jelek” as well as in the novel “'Dear Nathan” and
“Orang Orang Biasa”.
138
CHARACTER'S MENTAL HEALTH
Pessimist 1
Stress 1
Insecurity 1
Ego 1
Trauma 4
0 0.5 1 1.5 2 2.5 3 3.5 4 4.5
139
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
Based on the results of research on novels and short stories, it can be
concluded as follows:
1. Theme, In the genre, the results of the analysis show that only one short
story uses an explicit theme, namely what to regret and the rest, namely four
novels and three short stories using an implicit theme.
2. character, all characters in novels and short stories use round characters
because all the characters are fully developed, meaning we know a lot about
the characters through the events they experience.
3. Plot, For the plots used in the novels and short stories that the researchers
analyzed, it can be concluded that the use of chronological order is more used
than the flashback narrative order. Because there is only one that uses
flashback narrative order, namely in the novel 'Rain', while the rest uses
chronological narrative order.
4. Settings, Of the eight literary works studied, there are two literary works
that use both settings to describe the place, time and atmosphere in the story,
140
namely with the backdrop setting and also the integral setting in it. The rest
only use one of these settings, whether it's the backdrop or the integral setting.
5. Style, In terms of language, all the novels and short stories studied used
almost all existing styles except the understatement style, while the most
widely used was figurative language: simile and metaphor.
B. Suggestion
Teen novels and short stories Have a complex plot or storyline.
Various events that are displayed are interrelated so that they can tell a long
story, discuss issues broadly, and in more depth, usually themed around
teenagers such as friendship, school and of course also love. Both novels and
short stories have moral messages that can be used as lessons for children and
adolescents. Of course, in this case it is very important to practice how to
overcome a problem in everyday life because it contains many conflicts
according to the mental health topic being analyzed. It is hoped that our
research can be an insight for future researchers.
141
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THE QUALITY OF NOVEL AND SHORT STORY :

LITERATURE ELEMENTS AND MENTAL HEALTH STUDIES

Syahruni Djunaid, S.S., M.Pd.

Aryana Nurul Qarimah S.Hum., M.A.

Arranged by : Group 2B (5AG1)

Andi Annisa Irpan (40300120014) Nur Wahyuddin (40300120019)

Dzakiyyah Haya A. (40300120004) Andhy Arwilyam (40300120027)

Anisah Ramadhani (40300120031) Mulyadi (40300120025)

Syarifah Amelia (40300120023) Pardiansyah (40300120011)

ENGLISH LANGUANGE AND LITERATURE

ADAB AND HUMANIORA FACULTY

ALAUDDIN STATE ISLAMIC UNIVERSITY OF MAKASSAR

stories about mental health.

Makassar, 22 October 2022

A. The Literature Elements of Novel and Short Story........................................4

1. Fiction Genre for Children’s Literature......................................................4

2. Realism Genre for Children’s Literature.....................................................5

3. Theme as the Unifying Unit........................................................................6

4. Characterization in Children Stories...........................................................6

5. Plot of Children’s Literature.......................................................................8

6. Setting for Children’s Literature...............................................................11

7. Point of View of Chilren’s Literature.......................................................11

8. Style for Children’s Literature..................................................................13

B. Mental Health Studies of Novel and Short Story..........................................14

FINDING AND DISCUSSION...................................................................................21

A. FINDING IN NOVEL AND SHORT STORY............................................21

1. Analysis Of “Kisah Sie Sie” Short Story By Tere Liye............................21

2. Analysis Of “Buat Apa Disesali” Short Story by Tere Liye.....................35

3. Analysis Of “Senyum Palsu” Short Story By Wahyuni............................53

4. Analysis Of “Hujan” Novel By Tere Liye................................................68

5. Analysis Of “Kalau Semua Wanita Jelek” By Tere Liye..........................84

6. Analysis Of “Si Anak Badai” Novel By Tere Liye...................................96

7. Analysis Of ‘Dear Nathan’ By Erisca Febriani.......................................109

8. Analysis Of “Orang Orang Biasa” By Andrea Hirata.............................120

2. Mental Health Studies...................................................................................133

CONCLUSION AND SUGGESTION......................................................................136

sentences. In it, it is depicted imaginatively from an event experienced by humans,

with certain characters and backgrounds (Drs. Warsiman, 2016).

reality from human life (Samosir et al., 2019).

In terms of characteristics, what can be stated as children's literature is if the

involving aspects of emotions, feelings, thoughts, sensory nerves, and moral

reached. and understood by children according to the level of mental development.

stories are a description of the problems of a person's life involved in a human

Psychology is a theory that focuses on aspects of the psyche. Meanwhile, literary

psychology is an interpretation, understanding, and knowledge of the literary work

Kalau Semua Wanita Jelek.

So based on the background explanation above, the problem formulation of

this research is:

1. What are the literature elements of novels or short stories?

2. How is mental health studies applied on to novels or short stories?

A. The Literature Elements of Novel and Short Story

1. Fiction Genre for Children’s Literature

Formula fiction is fiction with hackneyed sequence of events (Lukens

a. Mystery and Thrillers

One popular type of formula fiction is the mystery story, in which

resolved or explained by reasonable and carefully detected discoveries.

Within the genre we include the detective story, as well as novels of