The functions of simple characters:

a. Slmpllclty and lifelikeness: the simple characters can make an important contribution to the overall of a
work of fiction. The simple character, then, can serve very well as a minor character in fiction
.contributing to our sense of the overall lifelikeness of the story.
b. Slmpllclty and Imagination: the simple character is not limited in fiction to use as as a minor character,
part of the background against which main action is played out. To know the function, we must distinct
between the setreotyped simple character und the individualized simple charcter. Stereotypes are
substitutes for imagination the individualized simple character is an original imaginative creation.
Stereotype will appear as major characters
only in fiction of very low order. But the individualized simple charcter may be an imaginative
accomplishments worthy to take a central position in fiction of the very highest order. It can be drown that
the simple character or the stereotype may appear in a minor role in serious fiction, but will play a major
part, as a general rule, only in inferior fiction.
Evaluation of character types: it is an oversimplification to assert without qualification that the complex character is a greater achievementthan
the simple. So, we must ask what the character contributes to the story, and the author must always choose the Kind of character appropriate to his
overall purpose
methods of character portrayal

discursive method: the writer enumerates the qualities of the character simply and may even express approval or
disapproval. The advantages of this method are simplicity and economy, the writer who is content to tell us directly
to the characters, can quickly finish the job of characterization and go on to other things._ The ,disadvantage of it
is relatively mechanically and discourages the readers' imaginative participation, that is the reader is not encouraged
to react directly to the characters, to make up his own mind about them, as he must react to and make up
his own mind about the real people he meets.
The dramatic method: the author allows his characters to reveal themselves to us through their own words and
actions, that is, how character is revealed to us in drama. The advantage of dramatic method is more lifelike and
invites the reader's active participation in the story. The disadvantages of this method are less econcrntcol. and
since to show the character takes longer than to tell. While it encourages file reader's active participation, it also
increases the possibility of his misjudging the character.
The contextual me hod: it 1s about the device of suggesting .character by the verbal context that surrounds the
character e.g. a characters constantly describe terms appropriate to abest of prey, the reader may well conclude that the
author is trying to tel him something.

omething.
.c>.--c:

~~"

J.~

fng methods
the

& ~

con
t
extual method can be combined w\th the

other methods
fn

evoluof
th
ing an au or
,
s method of characterization,

fhe reader must keep in mind the appropriateness of the outnor' s

methods to the over all design of the story.

I.PL T =

The nature of plot, plot reveals events to us not only in their t emporal,but also in

their causal relationships. Plot makes us aware of events not merely

elements in a temporal
effect.

series but also as an intricate pattern of cause

The structure of plot: it is about the discernible pattern

and

of the division ot

the story into beginning, middle_and end. For the writer chooses,,to begin the story at
one point and end it at another, he need not to feel
bound by temporal sequence in moving from beginning through middle to end.

~ Beginning: the beginning may be what come first in time, besides temporal
sequence, determines the choice of beginning. For instance, Nathaniel Hawthorne's
'Young Goodman Brown'' was stoted: ''Young Goodman Brown came forth at
sunset into the street at Solern village:

but put his head back, after crossing the thresnotd. to exchange a parting kiss with

his young wife. And Faith, as the wife was aptly named, thrust her own pretty

head into the street, letting the wind Play with the pink ribbons of her cap while
she called to goodman brown.
Expositions : it introduce to the storys title character about intorming the name and the
profile of the characters, and the setting ot the story. It is the element if instability, the
situation with which the story begins will contain within it a hidden or overt element of instability.
Suspence : it is an expectant uncertainlyas the outcome of the story and a matter of not knowing

how things will turn out involving some awareness of the possibility and some concern

about them .

The middle . it moves from the end of the beginning to the beginning of the
middle

as the elements

tending towards instability in the initial situation group

themselves into what we recognize as a pattern of

conflict.

1. Conflict: it is related to the instability pattern including the crisis emerges and starts
to happen in the story. For an example, in Young Goodman Brown this pattern
emerges upon Brown's encounter with a strange man in the forest. Brown has been
thinking of what is to happen that night and musing that knowledge of it would
kill his wife,
Faith. The starnge man has been expecting Brown and is, it seems, to be his
companion for the evening. But Brown indicates that he wishes to return ome. It

is in Brown's attempt to resis the will of his companion that the conflict becomes
evident.
3. Climax: the story's highest point intesity,

occurs when

srown tirids that

his wife, Faith, the wife he had betieved would be k\\\ed~ by the very

thought of such evil practices, is among the converts.

he end: it consists of everything from the climax to the denoument, or

;1~1 .,e of the story. In Young Goodman Brown, the end is devoted

:cma'h of Brown's experience in the forest. Shattered by what

has happened,

he lives out his life in misery. and we are told

" his dying

hour was gloom.''

4. POINT OF VIEW

DEFINITION OF POINT OF VIEW

An analogy: Let's try an analogy. Compare point of view in fictton with point
of view in purely physical terms. If I stand directly in front of you, I can't see

your shoulder blades. If I want to see your shoulder blades, one of us has to move. That is, I
have to look at you from another point of view. In short, from any single physical point of
view, there are some things I can see, and some
things I con not.

'

Point of view is the term of which angle the story gets told.

-~~;:-:.:

The author's power: for the author's relation to the world he creates in fiction,
the author is the ultimate source of being of every person, place, thing and

9vent in his work and know all there is to know about the creatures of his
. . . ~. iimagination. To decde whether he will exploit

Types of point of view

1. The

omniscient author

[!] :

all-knowing author has access to the private thoughts and tee\\ngs oi

everyone i11 a novel or a story. It means that the author acted as if she

or he "knew a\\''.

[!] the author feels free to comment, to chat w\th us as the readers, to

take us into her or his confidence. So, we are very aware ot the

author's presence as the narrator.

3.Third person objecti~e

[!I

the story talks about its character in the "third person"of she or he.
There is limitatioli1 between the reader and the story that is much of what we see
and hear we can only speculate about; we never enter fully into the thoughts and
emotions of the people in the story.

lfrst person autobiographical

II the authors are speaking in thinly disguised from about tnelr own childhqod,
their own families, their own conflicts or alienation involved
...,,-~

.<_._l!eeply in the story, It shows the tt s

5.Flrst person observer

lhe ''I'' will

P laY different roles
m different stories. Th\s
(3

persor\ becomes

our scout, our

reliable source,
our ''chosen
interpreter'' or
l'ret\ector'' to

know the
happenings in
the story by way
of h\s or her
percept\ons.

6.Fir.st person protagonist

"-'""'."'.~iiol;~.

the protagonist-

the main character,

the hero or h8t6ine in a story

may te\\ us his
or her story in
the first person
of "I"

7. The naive narrator

El a special kind of
irony may make
us react to the
perspective ot
the narrator with
a wry smile. We

'

smile at the
naive narrator
who seems to
know and
understand less
than an alert
reader.

8.lnterlor monologue
[!] we enter into

the mind of the

narrator, sharing in
a flow of thought
and
feeling.
However, like

our own private

thoughts and
feelings, the

narrator's flow
of thoughttrivial or
pathetic much
of time - is
likely to