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1. Theory of Character According to Abrams the meaning of character are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being edowed with moral and dispositional qualities that are expressed in what they say – the dialogue – and what they do – the action (198 1:2) Therefore characters are important element in the story. The stories always introduce their characters to give a description to the readers. Character is commonly used in two ways (Stanton. 1965:17). The first is that character designates the individuals who appear in the story.
The second is that character refers to the mixture of interests, desires, emotions, and moral principles that makes up each of these individuals. Character gives a certain situation or circlumstance in the story because he or she shows his or her emotions in it. According to Hugh Holman and William Harmon. character is a complicated term that includes tile idea of the moral constitution of the human personality, the presence of moral uprightness, and the simpler notion of the presence of creatures in art that seem to be human beings of one sort or another (1986:81).
Characters can be divided into two kindly major or main character and minor character. Major character is the most important character in a story. Basically, a story is about this character, but he cannot stand on his own; he needs other characters to name tie story more convincing and lifelike. Minor characters are characters of less important than those the main (Koesnosoebroto, 1988:67). A character can be either static or dynamic (Holman and Harmon, 1986:83). A static character is one who changes little if at all. Things happen to such a character without things happening within.
The pattern of action reveals the character rather than showing the character changing in response to the actions. A dynamic character is one who is modified by actions and experiences and one objective of the work in which the character appears is to reveal the consequences of these actions. According to E. M Forster, characters can be divided into two terms. Firstly, a flat character. It is build around single idea or quality’ and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. Secondly, a round character.
It is complex in temperament and motivation and is presented watts subtle particularity (Abrams, 1981:20). 2. Theory of Characterization Character and characterization are related and cannot be separated to each other. In real life human sense of character naturally varies watts their pawers of perception and understanding. Herman beings see in others only what we are able to see iud this ability then forms for others part of our own character. In other words, ullman beings can find their own characterization by how we judge or value anyone else (Harvey, 1965:30).
According to Holman and Harmon (1986:81)y the author always reveals the characters of imaginary persons in the story. It is called characterization. Therefore characterization is the creation of these imaginary persons so that they exist for the E reader as lifelike. There are three fundamental methods of characterization: a. the explicit presentation by the author of the character through direct exposition, either in an introductory block or move often piecemeal throughout the work, illustrated by action; b. he presentation of the character in action, with little or no explicit comment by the author, in the expectation that the reader will be able to deduce the attributives of the actor from the actions; c. the representation from within a character, without comment on the character by the author, of the impact of actions and emotions on the character’s inner self, with the expectation that the reader will come to a clear understanding of the attributes of the character.
Characterization as stated by yelled Jones and Gaston (1950:30) is the creation of imaginary persons. In some works, the writer reveals certain qualities of his own nature, in others he tries to keep himself in the backwood and present the characters of real people or of imaginary maple. By knowing about characterization of the characters, the readers will understand why the character does the thing. The emotional feeling of the readers will also be involved when they read the story.
According to Koesnosoebroto (1988: 66), characterization must observe at least three principles. Firstly, the characters must clearly be motivated in their behaviour: they must not behave one way on one occasion and a different way on another unless there is a clearly sllmcient reason for the change. Secondly; the characters must clearly be motivated in whatever they do. especially when there is any change in their behaviour: the readers must be able to understand the reasons for what they do if not immediately at least by the end of the story. e readers are interested to know that characters act from known motives. Thirdly. the characters must be plausible or lifelike, credible, realistic. probable. The credibility of a charades can be achieved by meeting second principle, i. e. his clear motivation of taking any action. According to Oscar Bracket (1974 : 39 – 49), characterization can be found in four levels. The first level of characterization is physical and is concerned only with such basic facts as sex, age, size and color. The second level is social.
It includes a character’s economic status, profession or trade, religions family relationship – all those factors that place him in his environment. The third level is psychological. It reveals a character’s habitual responses attitudes, desire, motivations. like and dislikes the inner working of mind, both emotional and intellectual, which precede action. The fourth level is moral. More nearly than any other linda moral decision differentiates characters because the choices they make when facing moral crises show whether they are selfish hyprocritical, or persons of integrity.