CHAPTER I
INTRODUCTION
1.1 Background
Human beings as one of the three alive-creatures besides
animal and plant have a particular ability, which makes him so special, that
dominates the others. They are able to adapt, to survive and to analyze the
universe phenomenon, which make their quality of life better and better since
the past. They have the whole ability because God has granted them brain. Their
curiosities are so great that they learn more and more. Besides, something that
makes them more special than the others is they know the way to express their
feeling, thought, and emotion. Something to provide “a place” for all of the
people’s expression is literature.
Literature, according to Moleong as quoted by Spadlex
(2000:13), is the knowledge which is earned by human beings arise conduct and
it is used to reflect and express experience.
Another opinion said that literature is one of the great creative and
universal means of communicating the emotional, spiritual, or intellectual
concerns of mankind (The Encyclopedia of Americana, vol. 22:559). It seems that
something human being does deals literature, especially in communicating. To
communicate to each other may be done by a means, such as by a letter, speaking
directly, by phone etc. Even something they wrote or said, no matter what its
content, could be called a literature. Well, in this life, in purpose or not in
purpose, they have involved in a literature.
By using their mind they produced an expression of their
feeling, emotion and thought to communicate with others. And this result of
literature is called a literary work. Literary work consists of two types,
namely imaginative and non-imaginative. Both literary works are basically the
same, that is both are expressed aesthetically, but they have a different in
expression. Imaginative type is commonly using connotative sentence to express
an idea, while non-imaginative type is more realistic than the imaginative one.
It uses denotative sentence.
Non-imaginative type consists of essay, criticism, biography,
autobiography, history, memoir, diary, and letters. And imaginative type
consists of poetry, fiction, and drama. In this paper, the writer takes a drama
as an object that will be further analyzed. Drama may be defined as a work of
literature or a composition which delineates life and human activity by means
of presenting various actions of – and dialogues between – a group of
characters (Reaske, 1966:5).
Drama was firstly introduced by a Greek philosopher
Aristotle. He also identified six elements of drama that enhance not only the
story telling, but also the instructive and aesthetic values of a play. The
first four of the elements is plot, character, thought, and diction (relate to
drama / written script). And the last two elements are music and spectacle
(relate to theatre / the play in performance).
(http://www.appendix%20C%20elements.html, accessed on December 21st 2004).
To analyze a drama in a study or paper there must be
minimally two elements that support each other, such as plot and character. Plot
and character are two significant elements and very needed in a story. Plot is
the arrangement of the incidents or events in a story, which are interconnected
each other, that makes a story more interesting and easy to be comprehended.
Meanwhile, character is the player in the story; it may be humans, animals, or
other imagination creatures created by the author. The story contains problems appearing within
the actions that make the character struggle to overcome the problems.
Therefore, the writer takes a topic “The Influence of the Main Character’s
Conflicts towards Plot in Oscar Wilde’s The Importance of Being Earnest”. The
writer utilizes the characteristic of the main character and is supported by
the plot to find out the influence the character’s conflicts towards the plot
in the play.
1.2 Objective of the Study
After reading the story of the drama, the writer concludes
that there are many conflicts found which dealing with the main character. And
of course the conflicts may influence the main character. Therefore, the writer
can illustrate the objective of the study into four objectives. First, to find
out the Earnest Worthing’s and Algernon’s characteristics and their
characterization in Oscar Wilde’s The Importance of Being Earnest. Second,
after analyzing the main characteristics, the writer tries to find out the
conflicts dealing with them, either internal or external conflicts. Then third,
the writer will try to elaborate the plots one by one. And finally, the writer
will try to find out how far the influence of the main character’s conflicts
toward the plots in The Importance of Being Earnest.
1.3 Scope of the Study
As there are many aspects in the Oscar Wilde’s The Importance
of Being Earnest, the writer makes a limitation of discussion to assure the theme
of this thesis’ analysis, namely the main characters, Earnest Worthing and
Algernon, and the characterization of the main characters by Oscar Wilde; the
internal and external conflicts which deal with the main characters; the plots;
and the influence of the main character’s conflicts toward the plots.
1.4 Method
Methods are needed to analyze the drama. In this paper the
writer applies library research as the method of the study and applies
psychological approach to analyze the main characters’ characteristics in order
to find out the conflicts and then relate them to plots, hence the influence of
the main characters’ conflicts toward the plots will be revealed.
1.4.1
Method of the Study
The
library research was applied to support the analysis of the drama, collecting
some data and information needed from the relevant books or other resources.
Then reading and comprehending the data, making some notes until making
conclusion. According to Atar Semi, library research is a method of doing a
research in a working room or library, where the needed data and information
about the subject matter are required through books or other audiovisual means.
Library research is done to collect the data by finding some books related to
the research as references (1993:8).
1.4.2
Method of Approach
Semiotic
approach is employed in analyzing the drama. As Nurgiyantoro said that semiotic
is a science or analysis method to examine signs. The signs could be a body
language, mouth, eyes movement, color, and other things around our life (2000:
40). In this paper the writer utilizes psychological approach to analyze the
main characters in the Oscar Wilde’s The
Importance of Being Earnest. It seems those approaches very close to
analyze the aspects, especially the main character’s conflict and the plot,
found in the main characters’ characteristic and the setting which influences
the main characters. The analysis of the main characters is made by unfolding
the character through actions and dialogue.
Literary
works manifest social life and have a close relation with social community, as
commonly literary works discuss the human life. Based on that statement the
writer uses psychological approach to analyze the main characters.
Psychological approach is an approach that is applied since literary works are
frequently study events or phenomenon about human’s life (Atarsemi, 76:1993).
Psychic conflicts are caused by psychological problems. It is natural, as
humans’ character that desire something more and more which actually their
ability and capability are limited. Therefore, humans’ life is just like a
drama, which containing plots of life that may be due to humans’
characteristics and their interaction to surroundings in their social life or
interaction to them selves, their mind or heart, in this case is internal
conflicts. The psychological approach here includes the main characters’
characteristics and is used to analyze the main characters’ conflicts. The
psychological approach is appropriate, because it can be used to explain the
plot aspect and the characteristic of the main characters.
CHAPTER II
BIOGRAPHY AND SYNOPSIS
2.1 Biography of Oscar Wilde
Oscar Fingal O’Flahertie Wills Wilde was born in
1854. William Wilde, his father, was a doctor, specialist in disease of the eye
and ear. Lady Jane Francesca Wilde, his mother, was a poet, journalist and
well-known intellectuals in Dublin,
Ireland.
Although Wilde’s were not of the aristocracy, they were nonetheless prosperous
and sent Oscar to the finest schools as he grew up. His mother was a best
friend for him, as Oscar seems especially influenced by his mother, a
brilliantly humorous storyteller, and he was frequently invited while still a
child to participate in their intellectual circle of friends (Encyclopedia
Britannica, Vol. 23, page 596).
In
1871, Oscar attended the Portora
Royal School
at Enniskillen, where Oscar excelled at studying the classics, obtaining top
prize his last two years, and also earning a second prize in drawing. In 1871,
Oscar was awarded by the Royal School Scholarship to attend Trinity College
in Dublin.
Again, he did particularly well in his classics courses, placing first in his
examinations in 1872 and earning the highest honor the college could give on an
undergraduate, a Foundation Scholarship. In 1874, Oscar reached his successes
at Trinity with two final achievements. He won the college's Berkeley Gold
Medal for Greek and was awarded a Demyship scholarship to Magdalen College
in Oxford. (http://www.literature-web.net/wilde,
accessed on April 19th
2005)
Oscar's father died on April 19, 1876, leaving the family financially
strapped. Henry, William's eldest son, take over the wild’s role. He paid the
finance on the family's house and supported them until his sudden death in
1877. Meanwhile, Oscar continued to do well at Oxford. He was awarded the Newdigate prize
for his poem, Ravenna,
and a First Class in both his "Mods" and "Greats" by his
examiners. After graduation, Oscar moved to London to live with his friend Frank Miles, a
popular high society portrait painter. In 1881, he published his first
collection of poetry. Poems received mixed reviews by critics, but
helped to move Oscar's writing career along, and was a well-known enough entity to be satirized by a Gilbert
and Sullivan comic opera. He moved to the avant-garde neighborhood of Chelsea in London (Encyclopedia
Britannica, Vol. 23, page 596).
In December 1881, Oscar sailed for New York to travel across the United States
and carry a series of lectures on aesthetics. The 50-lecture tour was
originally scheduled to last four months, but extended to nearly a year, with
over 140 lectures given in 260 days. In between lectures he made time to meet
with Henry Longfellow, Oliver Wendell Holmes and Walt Whitman. He also arranged
for his play, Vera, and then was staged in New York the following year. When he
returned from America,
Oscar spent three months in Paris
writing a blank-verse tragedy that had been commissioned by the actress Mary
Anderson. When he sent it to her, however, she turned it down. He then started
out on a lecture tour of Britain
and Ireland
(Encyclopedia Britannica,
Vol. 23, page 596).
In 1884, Oscar married a shy and rich Irishwoman, Constance Lloyd.
She was a skilled woman who could speak several European languages and had an
outspoken, independent mind. After they had married, they moved in to a posh London house. Their
marriage was awarded two children, Cyril in 1885 and Vyvyan in 1886. For
supporting Oscar’s family, he briefly worked at The Woman's World
magazine from 1887-1889, and he wrote a collection of fairy tales and more
essays championing the Aesthetic movement. In the 1890s, he published his two
works of children’s stories, The happy Prince And Other Tales (1888) and
The House of Pomegranates (1892). In 1890, he also published his first
and only novel, The Picture of Dorian Gray, a Faustian tale about beauty
and youth. In February 1892 he opened his first play, Lady Windermere's Fan.
The other plays such as Salome (1892), A Woman of No Importance
(1893), An Ideal Husband (1895), and The Importance of Being Earnest
(1895) were his works which finally made him well-known as a playwright. His
last play, The Importance of Being Earnest, is also considered his
greatest and the modern shining example of the comedy of manners
(http://www.cmgww.com/historic/wilde/, accessed on April 19th 2005).
However, by now Wilde was infatuated with the younger, beautiful
poet Lord Alfred Douglas (known as "Bosie"), and he was not shy about
flaunting their sexual relationship. Douglas's
father, the Marquess of Queensbury, accused Wilde of sodomy. Wilde, never one to
back down from a fight, charged Queensbury with slander. However, Queensbury
had several of Wilde's letters to Bosie and other incriminating evidence as
well. Alongside the provocative material in Wilde's work, the writer was found
guilty of homosexuality in a second trial and sentenced to two years of hard
labor (Encyclopedia Britannica, Vol. 23, page 596).
In 1897, while in prison, Wilde wrote De Profundis, an
examination of his newfound spirituality. After his release, he moved to France under an
assumed name. He wrote The Ballad of Reading Gaol in 1898 and published
two letters on the poor conditions of prison; one of the letters helped reform
a law to prevent children from imprisonment. His new life in France,
however, was lonely, impoverished, and humiliating. Wilde died in 1900 at the
age of 46 from Meningitis, in a Paris
hotel room. Nevertheless, he retained his epigrammatic wit until his last
breath; he is rumored to have said in the drab hotel room, "My wallpaper
and I are fighting a duel to the death. One of us has to go." Critical and
popular attention to Wilde has experienced a great resurgence; numerous films
based on his plays and life have delighted audiences, while his writings remain
a wellspring of witty and subtle thought on aestheticism, morality, and society
(Encyclopedia Britannica, Vol. 23, page 596).
2.2
Synopsis
of The Importance of Being Earnest
The drama tells about
two men, Earnest Worthing (or Jack in the cast list and Jack in the body of the
play) and Algernon Moncrieff (Algy). In 1895, in a stylish and artistic London flat, Algy is
preparing for the arrival of his aunt, Lady Bracknell, and her daughter,
Gwendolen. His butler, Lane, brings in Jack. Jack says that he just returned
from the country. Of course Algy is curious by his coming to town. Jack tells
that she has come to town to propose Gwendolen. Algy is surprised, as doubt
Jack’s love to Gwendolen. He is doubtful to Jack’s love to Gwendolen, because
the way Jack flirts with Gwendolen is completely disgraceful as bad as Gwendolen
flirts with Jack. Algy says that before Jack proposes to Gwendolen he has to
explain first a question of Cecily. Algy calls Lane to bring in the cigarette
case. Jack says that Cecily is her aunt. But Algy does not believe him, as the
inscription inside the cigarette case says:” From little Cecily, with her
fondest love to her dear uncle Jack.” Moreover Algy knows his name is not Jack,
but Ernest. Jack finally reveals that he has a name of Ernest when he is in
town and a name of Jack in the country. Algy says that Jack has been undergoing
a “Bunburying”, as Algy does. Algy has also invented an invalid brother named
Bunbury.
Jack explains that
Cecily is a granddaughter of Thomas Cardew, who lives in the country. Jack was
adopted by Mr. Cardew and inquired to be a guardian to Cecily. Cecily now lives
at Jack's place in the country under the guidance of her governess, Miss Prism.
Since Jack must maintain a high level of morality to set an example, he needs
an excuse to get into town. He has invented an idle younger brother named
Ernest who lives in Albany.
Algernon also confesses that he has created an invalid, Bunbury, in the
country. He uses the Bunbury whenever he needs to get out of town. Jack says he
is tired to be "Ernest," but Algernon maintains that he will need him
more than ever if he marries.
Lady Bracknell and
Gwendolen arrive. Algy tells Lady Bracknell that he will be unable to attend
her dinner tonight, as Bunbury is ill. They go into the music room. While Jack
gives ten minutes to confesses his feeling to Gwendolen in the living room.
Then Jack begins, he says that he likes her, and Gwendolen admits that she
likes him, too. Gwendolen discloses that she has always dreamed to love someone
named Ernest. Jack asks if his name were not Ernest would she still love him,
and she answered She would, she will remain love him. He proposes to her, and
she accepts. Suddenly Lady Bracknell comes in, and Gwendolen informs her of
their engagement. Lady Bracknell says that only she or her father can engage
Gwendolen, and orders her to wait in the carriage.
After examining Jack,
Lady Bracknell learns from Jack that he was an orphan, found in a handbag on a
train. She is stunned and says she will not allow her daughter to marry him.
She wants Jack to look for a parent of any sex immediately, but he refuses
that.
Jack tells Algy what
happened, and also says he will “kill” his brother Ernest later in the week.
Algernon expresses interest in meeting Cecily, but Jack does not want this to
happen, as she is young and pretty. Then unexpectedly, Gwendolen returns. She
tells Algernon to turn his back, as she wants to speak personally with Jack.
She asks Jack his address in the country. She promises to write him quite often
when he returns there. Algernon slyly listens their conversation behind and
writes down and checks a train timetable. As soon as Jack and Gwendolen leave,
Algy orders Lane to prepare everything he needs, as he will be going Bunburying
tomorrow.
In the garden at Jack's
country house, Miss Prism and Cecily are discussing Jack's seriousness; Miss
Prism believes it is due to his anxiety over his brother. Dr. Chasuble enters
the garden and asks Miss Prism to leave for a walk together. Merriman, their
butler, announces the arrival of Ernest Worthing. Algy enters and he introduces
himself as Ernest. He and Cecily briefly discuss his "wicked"
reputation, while he tries to flirt with Cecily. Algy soon learns from Cecily
that Jack will be back Monday afternoon, Algernon says that he must leave
Monday morning.
Miss Prism and Chasuble
return. She advises him to get married to a mature lady. Then Jack comes to the
garden in black dress. He says that he has returned earlier than expected, and
informs that his black dress describe his sorry, as his brother Ernest has died
in Paris last night. Jack asks Chasuble if he would christen him this
afternoon. He agrees. When Cecily appears from the house, she tells that she is
absolutely glad because of his brother coming. She says that she has met Ernest
and now he is in the dining room. Jack surprised and says he doesn't have a
brother anymore. She runs into the house and brings out Algy. Jack refuses to
shake Algernon's hand, but Cecily says that "Ernest" has been telling
him about his friend Bunbury, and that someone who takes care of an invalid
must have some good in him. Everyone but Jack and Algy leaves. Jack orders
Merriman to get the dogcart, as Ernest has been called back to town. Jack tells
Algy he must leave, while Algernon conveys an interest in Cecily. Jack exits.
Cecily enters the
garden. Merriman tells Algernon the dogcart is ready, but Cecily says it can
wait. Algernon compliments Cecily to her great delight, then tells Merriman
that the dogcart can come back next week. He asks Cecily to marry him, and she
points out that they have been engaged for three months. She shows him the box
of letters he wrote to her. But actually the letters was written by Cecily for
herself. She also admits that she loves him because his name is Ernest. Algy
asks her whether she would still love him if his name were Algernon. And she
says might be doubtful to love Algernon. Algy says he needs to see Chasuble
quickly about christening. He wants to be christened as Ernest.
Merriman announces that
Gwendolen has insisted to see Mr. Worthing (Jack). Cecily informs him that he
has gone off to see Chasuble some time ago, but invites her in. Gwendolen
immediately takes to Cecily, but wishes Cecily were not so young and charming,
as "Ernest," despite his moral nature, is still susceptible to temptation.
Cecily tells her that she is not Ernest's ward, but his brother Jack's. She
also says that she is going to marry Ernest. They compare diary entries.
Gwendolen feels she has the prior claim, since Ernest asked to marry her
yesterday. The girls argue and insult each other.
When Jack enters the
garden, Gwendolen asks if he is engaged to Cecily; he laughs and denies it.
Cecily says the man before them is not
Ernest at all, but he is her Uncle Jack. As Gwendolen goes into shock, Algernon
enters, and Cecily calls him Ernest. She asks if he is married to Gwendolen; he
denies it. Gwendolen says that his name is Algernon. Cecily is upset, and she
and Gwendolen hold each other and make up. Jack at last confesses that he has
no brother Ernest, or any brother at all. The women leave the house. Jack is
angry with Algy for he has been a troublemaker with his Bunburying. Then both
Algy and Jack arrange to meet Chasuble and ask him to christen them
"Ernest" later that evening. Jack tells Algy to leave his house, but he
refuses.
Jack and Algernon meet
Gwendolen and Cecily inside the country house. The women tell the men their
Christian names are still being a problem. The men reveal that they are to be
re-christened this afternoon, and the couples hug.
Lady Bracknell arrives,
and Gwendolen, once again, informs her of her engagement. Unluckily, Lady
Bracknell also does not agree with their engagement. She asks Jack to not
continue their relationship.
Jack introduces Cecily
to Lady Bracknell, and Algy says that he is engaged to her. Lady Bracknell
gives her consent for their marriage, because she discovers Cecily has a large
personal fortune. Jack, however, does not give his consent, as Jack assumes it
is too young for Cecily to marry in her 18. He would only give his consent if
she has reached 35 years old. He also suspects Algy as an untruthful man, as he
has impersonated to be Jack's brother. It seems Jack is prowling to get his
chance to marry Gwendolen. Jack tells Lady Bracknell that he would give his
consent to the marriage of Algy and Cecily if she also gives her consent to his
marriage with Gwendolen. Arrogantly, Lady Bracknell refuses and tells Gwendolen
to get ready for the train.
Chasuble enters and
announces that the christenings are ready. Lady Bracknell refuses to allow
Algernon to be baptized, and Jack tells Chasuble that the christenings will not
be necessary any more. Chasuble says he will leave, and says that Miss Prism is
waiting for him. Learning Miss Prism presents, Lady Bracknell surprised and, at
once, accuses her of kidnapping a baby boy from her house 28 years ago. Miss
Prism’s face goes pale; he replies that he admits that. Under Jack's
questioning, Miss Prism reveals she accidentally left the baby in a handbag on
the Brighton railway line. Jack leaves
excitedly.
Jack leaves for a
moment and returns with a handbag. Miss Prism confesses that it is the same
handbag. Jack tells her he was the baby. Lady Bracknell informs Jack that he is
the son of her sister. Jack soon realizes that Algy is his brother. Jack asks
Lady Bracknell what his original name was. She says he was named after his
father. After looking up his name under the Army Lists, they learn his full
name was Ernest John Moncrieff. All people in the room are cheerful and embrace
each other. Jack tells Lady Bracknell that this the first time in his live he
has just realized the vital importance of being Ernest.
CHAPTER
III
REVIEW
OF RELATED LITERATURE
The
understanding of literary elements can be very helpful in analyzing literary
work, for example, novel, drama and poetry. Literary elements can be classified
into two categories. They are intrinsic and extrinsic elements. The intrinsic
element of a literary work includes elements which establish a literary work
inside. The elements are theme, plot, setting, character and characterization,
and figure of speech. (Semi, 1998:31). For that reason the analysis of any kind
of literary work needs a good knowledge about literary elements. Intrinsic
element refers to setting, plot, theme, character, and point of view. Extrinsic
element refers to social condition in a society and psychological condition. In
this thesis the writer employs one of literary works especially drama to be
analyzed. And he will employ several intrinsic elements to analyze the drama,
namely character, plot and conflict, and one extrinsic element that is
psychological condition.
3.1
Definition of Character and Characterization
Character is one of
literary elements that is very vital to understand the entire story of a
literary work. Characters are the humans,
animals, or fantasized beings that are created by the author to act within a
story for the author's purposes. In some instances, such as in historical
fiction, there may be real human beings who lived during the time period of the
story. A character may be described by the author through dialogues, actions,
descriptions, and expositions of a narrator. As Roberts stated that in
literature, a character is a verbal representation of a human being as
presented to us by authors through the depiction of actions, conversations,
descriptions, reactions, inner thoughts and reflections, and also through the author’s
own interpretive commentary (Roberts, 2003:66).
Character is important in
fictional work because a character helps to develop the plot. Character is
influenced by events just as events are shaped the plot by characters (Meyer,
1990:61). Characters can be classified by the amount of influence they have
over the plot. If a character has a large influence on the plot, that is, if
the character's actions have a significant effect on the ending of the story,
then that character is considered a major (or main) character. On the other
hand, if a character has a small influence on the plot, that is, if the
character's actions have little effect on the ending of the story, then that
character is considered a minor character.
Furthermore according to
Roberts and Jacobs, flat characters are essentially undistinguishable from
their group or class. Therefore they are not individual, but representative.
Usually they stay the same; they are static, and not dynamic like round
character. They are not developed, and because they are not central to the plot
they do not change or grow (Roberts and Jacobs, 1989:23). Based on the
statement, characters can also be classified by the amount of change they
exhibit in their personalities. If a character undergoes a significant change
in personality, then that character is considered a dynamic character. If a
character shows little or no change in personality, then that character is
considered a static character.
Meanwhile, in order to
analyze a character's personality or motivations, the reader must search for a
pattern in the character's behavior, or this way is called characterization.
According to William Harmon characterization is the presentation of the
character in action, with little or no explicit comment by the author, from the
action (2003: 88). And in order to discover this pattern, the reader needs to understand
the techniques of characterization, which is the
process by which
an author creates a
character. Robert Di Yanni, in
his book of Literature:
Reading Fiction, Poetry, Drama, and the
Essay, formulates
four techniques of characterization. They are exposition, dialogue,
action and description (http://www.utm.edu/research/iep/l/literary.htm,
accessed on February 21st
2005).
First, through the exposition of the narrator, the
narrator of a story or play may comment on how he/she feels, on what he/she
thinks, on what he/she intends to do. This narrator may also voice an opinion
about other characters, an opinion that helps the reader to understand those
characters but also understand the narrator as well.
Second, through dialogue or what a character says. As with people in real
life, what characters say and how they say it, reveals much about their
personalities. A character's choice of words can reveal his/her feelings and intentions as well as provide insights
into social status, education level, and area of residence.
Third, through action (what a character does). Again, as with people in
real life, what characters do, and how they do it, reveals much about their
personalities. A character who simply tense up his fist upon hearing that his
father has died is likely to be a different sort of person than one who shouts,
screams, and weeps upon hearing the same news. Also, a reader should make a
special note of how closely a character's actions and dialogue agree.
Fourth, through description (how a character looks/what belongings a
character owns). We often gain our first impression of a person by noting what
clothes he or she is wearing, what car he or she is driving, etc.
Staying
aware of these methods will help the reader determine if a character is major
or minor, dynamic or static, round or flat. The reader should also use these
methods to determine the reasons behind his/her attitudes towards the
characters.
Meanwhile the extrinsic
aspect that will be discussed is psychology. Analyzing character may include
psychological aspect. According to Dennis Coon psychology is not only the
science that learns the mind, but also the behavior. Additionally, Dennis Coon
explains psychology is the scientific study of the behavior of organism; its
goal is to describe, understand, predict and control behavior (1983: 12). It
can be said, in recent time, that psychology may be described most as a science
which learn both human and animal behavior.
Psychology has given much
influence on literature and literary criticism. The relationship between
literature and psychology commonly derives from psychology dimension in
literary works and the application of psychology theory in interpreting
literary text. Literary work inherently implies elements of psychology that
establish the whole content of literary work. A viewpoint of psychological
consideration can also be used in the process of literary text interpretation
theory and concept of psychology, which is used to comprehend the literary
text, will be meaningful to transform the text into meaning. Thereby,
literature and psychology are inseparable psychology explain underlying reasons
for character’s behavior or elaborates the relationship between conflict and
psychological condition of characters and evaluates their behavior and motive
in doing something.
The application of
psychology in literature is to analyze the behavior of characters, both
protagonist and antagonist. This is one of the goals of psychology in
literature. By using this science, we can find out the personality, motivation,
goals or even the life of each character in a story.
3.2
Definition of Conflict
The intrinsic elements
which can attract the readers’ interest to continue the reading of literary
works, especially drama, are the reflection of conflict.
As human beings we are
created as a social creature, which means we alive our life, hand in hand with
others. We have many hopes and wishes to be fulfilled in our life. However,
life is that simple because our needs could not always be satisfied. There are
many obstacles, internal and environmental, which interfere our live to get our
goals.
Robert E. Silverman in
his book of Psychology divided conflicts into four types, namely:
a.
Approach-approach Conflict
The individual is drawn
to two equality pleasurable goals and in choosing, one must eliminate the
other.
b.
Approach-Avoidance Conflict
One goal has both
positive and negative qualities that alternately or simultaneously attract and
repel the individual.
c.
Double Approach-Avoidance Conflict
The individual is caught
between two goals, both of which have positive and negative qualities.
d.
Avoidance-avoidance Conflict
The individual is
pressured to choose between two goals. Instead of making a choice between these
alternatives, some individuals will respond by escaping the entire situation.
Conflict can be a centre
of a story. Conflicts, which become the basis of plot, are the conflict of the
protagonist. This situation and condition arouse some events on the story and
make the story alive. Generally, the central of theme of a story is a conflict
and how to solve or to end the conflicts.
Conflict is the element
of the story which shows the concerns of the central characters. There are some
universal conflicts which are often identified by the terms: character vs.
character, character vs. self, character vs.
society, character vs. nature.
(http://www.mc3.edu/aa/lal/workshops/LiteraryDefinitions.html, accessed on April 27th 2005).
According to Holman in
his book A Handbook of Literature, conflict is a struggle which grows
out of the interplay of the two opposing forces in plot. The character, usually
the protagonist, may be involved in conflict of four different kinds, namely a
struggle against the forces of nature, a struggle against another person,
usually the protagonist, a struggle against society as a force, and a struggle
for mastery by two elements within the person.
While according to
Nurgiyantoro conflict can be divided into two categories: internal and
external. Internal conflict is a conflict that exists inside a character’s
mind. In other word, conflict is a fight against himself. Meanwhile, external
conflict is defined as a conflict that exists between character in the story
and something beyond his power (1995:124).
Conflict is also one of
the causes in a story that makes it become more fascinating. A story without
conflict will be monotonous. Therefore, conflict is an important part of a
story.
3.3
Definition of Plot
The most important
intrinsic element that will be very useful in comprehending the whole story is
plot. When the reader can understand the plot of a story in drama, it means
that he knows the entire story of it in detail. According to Aminuddin, the
definition of plot in the literary works commonly is a series of story which is
formed by some stages of event until they produce a story that is presented by
the actor or actress (2002: 83).
Plot may be discussed in
terms of exposition, complication, climax, revelation, and denouement. Loban,
as cited by Aminuddin, describes the stages of plot as wave. The wave beginning
from (1) exposition, (2) complication or beginning intrigues that grows to
become conflicts, (3) climax, (4) revelation or clarification of problems, and
(5) denouement or joyful ending, which is differentiated from catastrophe, that
is a sad ending; and solution, that is an opened ending because only the
readers will end the story through their imagination (2002: 84-85)
CHAPTER
IV
THE INFLUENCE OF THE MAIN CHARACTERS’
CONFLICTS TOWARD PLOT IN OSCAR WILDE’S THE IMPORTANCE OF BEING EARNEST
4.1 The Main Characters in Oscar Wilde’s The
Importance of Being Earnest
As the writer explained in the previous chapter that
character is the central part of a story, because it determines whether the
story will be interesting or not. A good
story is able to make the reader influenced all at once, through his/her
imagination, even it can influence the reader’s psychology. The Importance of Being Earnest may be
one of the stories that can make the writer interested in and makes him try to
analyze it through the main characters that are Jack Cardew and Algernon.
4.1.1
John Worthing (Jack Cardew)
Jack is a man of twenty-nine years old. He lives at Manor House in
the country, and sometimes in the town. He desires to come to town just looking
for pleasure, as Algy said. However, his main aim coming to town just to meet
Gwendolen as he wants to express his love to her. Therefore, he has two
different names. He uses the name of Ernest in the town and Jack in the
country. He likes to introduce himself as Ernest to everyone especially to a
girl he loves.
Jack.
I am in love with Gwendolen. I have come up to town expressly to propose to
her.
Algernon.
I thought you had come up for pleasure?... I call that business. (Wilde, 1959:
5)
Jack is an orphan. He tells everything truly about himself to Lady
Backnell, because Lady Bracknell asks him. He explains that He does not know
his personal history, when Lady Bracknell asks him about his parents. He is
confused how to explain to her. Then, he frankly speaks that he lost both his
parents. Astoundingly, Lady Bracknell is shocked to hear what Jack says. Losing
one parent, Lady Backnell said, is a misfortune, but losing both parents is a
careless. (Wilde, 1959: 20)
Then, Jack tries to explain that he has been taking care by Mr.
Thomas Cardew since he was a child. He said that Mr. Thomas Cardew found him in
a handbag in Victoria Station. Mr. Thomas Cardew gave Jack the name of Worthing because he turns out to have a first-class
ticket for Worthing in his pocket at that
time.
Jack.
I am afraid I really don’t know. The fact is, Lady Bracknell, I said I had lost
my parents. It would be nearer the truth to say that my parents seem to have
lost me... I don’t actually know who I am by birth. I was... well, I was found.
Jack.
The late Mr. Thomas Cardew, an old gentleman of a very charitable and kindly
disposition, found me, and gave me the name of Worthing,
because he happened to have a first-class ticket for Worthing
in his pocket at the time. Worthing is a place
in Sussex.
It is a seaside resort. (Wilde, 1959: 20)
Jack is a perfect flatterer. He tries to attract Gwendolen and
express his love. In a different room at Algernon’s place, he has a good chance
to express his love.
Jack.
[Nervously.] Miss Fairfax, ever since I met you I have admired you more than
any girl... I have ever met since... I met you. (Wilde, 1959: 15)
Jack.
My own one, I have never loved any one in the world but you. (Wilde, 1959: 17)
Gladly Gwendolen replies Jack’s love. She says that she loves him
too. She said that his name of Ernest makes her desire to love Jack. According
to her, the name is very inspired as it is able to produce a vibration like music.
As Jack has two different names, he, occasionally, lies by
introducing himself as Ernest. He says to Algernon Jack is a liar. He always
introduces himself as Ernest. He says to Algernon that his name is Jack in the
country and Ernest in town. Even, Cecily, his niece, believes him that he has a
brother named Ernest in town.
Jack.
Well, my name is Ernest in town and Jack in the country, and the cigarette case
was given to me in the country. (Wilde, 1959: 8)
Jack confesses to Gwendolen that he likes her, and she admits that
she likes him too, especially since she has always wanted to love someone named
Ernest. Jack asks if she would still love him if his name were not Ernest, for
instance Jack. She said she would not. She said that the name Ernest is suitable
with him. He proposes to her, and she accepts.
However, eventually Gwendolen knows that Jack has been lying to
her. And Jack cannot deny it, because he also does not know his real name since
he knows that he was a baby found in a hand-bag by Mr. Thomas Cardew in a
cloakroom at Victoria
station.
Jack. [Very seriously.] Yes, Lady
Bracknell. I was in a hand-bag - a somewhat large, black leather… (Wilde, 1959:
20)
Jack.
In the cloak-room at Victoria Station. It
was given to him in mistake for his own. (Wilde, 1959: 20)
He seems to try hard all this time to know his real parents.
Finally, Miss Prism is the key of his problem. Because of her, he knows that
actually Algernon is his elder brother through Lady Bracknell’s
explanation. Then, he immediately seeks
out through the military periodicals of the time, and reveals that his father’s
name was Ernest. He learns that his name Ernest John Moncrief as first sons is
always named of the father. Delightfully, Jack tells Lady Bracknell that he has
realized, for the first time in his life, "the vital Importance of Being
Earnest."
Jack.
The Army Lists of the last forty years are here. These delightful records
should have been my constant study. [Rushes to bookcase and tears the books
out.] M. Generals... Mallam, Maxbohm, Magley, what ghastly names they have - Markby, Migsby, Mobbs,
Moncrieff! Lieutenant 1840, Captain, Lieutenant-Colonel, Colonel, General 1869,
Christian names, Ernest John. [Puts book very quietly down and speaks quite
calmly.] I always told you, Gwendolen, my name was Ernest, didn’t I? Well, it
is Ernest after all. I mean it naturally is Ernest. (Wilde, 1959: 73)
Because Jack has many sides in his personality, he can be
categorized as a round character.
4.1.2
Algernon Moncrieff (Algy)
Algernon is bachelor with high fortune and a superior class. He
lives in a flat in a prominent part of London.
He is Lady Bracknell’s nephew, and Jack is his closest friend in town. He is
not a great in playing piano, but he can play it with wonderful expression.
Algernon.
I’m sorry for that, for your sake. I don’t play accurately - any one can play
accurately - but I play with wonderful expression. As far as the piano is
concerned, sentiment is my forte. I keep science for Life. (Wilde, 1959: 1)
Algernon is a great pretender. He creates someone else as Jack
does. He makes an invalid friend named Bunbury. He uses the name as a reason to
avoid Lady Bracknell’s dinner invitation. He said that Bunbury gets sick, so he
has to visit him. And he also takes advantage of the name Bunbury in order he
can set off into country as often as he likes.
Algernon …
I have invented an invaluable permanent invalid called Bunbury, in order that I
may be able to go down into the country whenever I choose… (Wilde, 1959: 10)
Algernon. It is a great bore, and, I
need hardly say, a terrible disappointment to me, but the fact is I have just
had a telegram to say that my poor friend Bunbury is very ill again. [Exchanges
glances with Jack.] They seem to think I should be with him. (Wilde, 1959: 13)
He is not a serious person to the problem he faces. For example,
when Jack finds that Algernon is bunburying in his house, Manor House, using
the name of Ernest, though he has told to everyone in Manor House that he his
brother, Ernest, was die in Paris suffered from chili. Innocently Algernon can
make the situation become cheerful such someone who lost his brother and
suddenly found his brother.
He is a romantic man. As Ernest, he really does, especially in
front of Cecily.
Cecily. You dear romantic boy. (kisses her, she puts her
fingers through his hair)… (Wilde, 1959: 44)
He is a smart person. He is able to make Jack confess that he has
been “bunburying” all the time, and he successes to get Cecily’s love through
many struggles and obstacles. He pretends as Ernest at Manor House in order
Cecily will impress him and accepts his love. However, once Cecily uncovers his
undercover, and it causes a big anger of her. Then Algernon tries to clear up
the problem by explaining that he did everything for her and would sacrifice
anything for her. It seems a satisfied explanation and acceptable towards
Cecily.
Algernon.
Well, I simply wanted to be engaged to Cecily. I adore her. (Wilde, 1959: 55)
Algernon can be categorized as round character, as he has two different
names with different character. Besides, he also acts as Ernest to get Cecily’s
love, and finally Cecily makes him to be Algernon again. Therefore, Algernon
has no choice, and cannot deny it.
4.2 The Conflicts of the Main Characters
Conflicts may be considered as an element that can
make a story more attractive to be read. Conflicts in a story or literary work
could happen to main character/protagonist toward antagonist. Conflicts may be
divided into two, namely internal conflict and external conflict.
4.2.1
The Internal Conflict
The internal conflict happens to Jack when Jack is
curious about his real name. He tries to find it in Army List of the last forty
years. And finally he finds his real name, that is Ernest.
Jack …The
Army Lists of the last 40 years are here.These delightful records should have
been my constant study.M.Generals…Mallam,Maxbohm, Magley, what ghastly names
they have – Markby, Magsby, Mobbs, Moncrieff! Lieutenant 1840, Captain,
Lieutenant – Colonel, Colonel, General 1869, Christian names, Ernest John. I
always told you, Gwendolen, my name was Ernest, didn’t I? Well, it is Ernest
after all. I mean it naturally is Ernest. (Wilde, 1959: 73)
Jack conflicts with himself as well when he insists
Gwendolen to marry him because he is afraid if Gwendolen knew his name was not
Ernest she would love him any more. His worry shows his internal conflict that
may be one day his ambiguous personality will be revealed.
Jack.
Well, really, Gwendolen, I must say that I think there are lots of other much
nicer names. I think Jack, for instance, a charming name.
Gwendolen.
Jack?... No, there is very little music in the name Jack, if any at all,
indeed. It does not thrill. It produces absolutely no vibrations... I have
known several Jacks, and they all, without exception, were more than usually
plain. Besides, Jack is a notorious domesticity for John! And I pity any woman
who is married to a man called John. She would probably never be allowed to
know the entrancing pleasure of a single moment’s solitude. The only really
safe name is Ernest
Jack.
Gwendolen, I must get christened at once - I mean we must get married at once.
There is no time to be lost. (Wilde, 1959: 16)
Jack’s confession that he has no brother shows that he
getting afraid if keep lying Gwendolen will not love him any more. But,
however, his confession still makes Gwendolen angry with him.
Jack.
[Slowly and hesitatingly.] Gwendolen - Cecily - it is very painful for me to be
forced to speak the truth. It is the first time in my life that I have ever
been reduced to such a painful position, and I am really quite inexperienced in
doing anything of the kind. However, I will tell you quite frankly that I have
no brother Ernest. I have no brother at all. I never had a brother in my life,
and I certainly have not the smallest intention of ever having one in the
future. (Wilde, 1959: 54)
Gwendolen.
I am afraid it is quite clear, Cecily, that neither of us is engaged to be
married to any one. (Wilde, 1959: 56)
While internal conflict which is experienced by
Algernon begins when he knows for the first time about “Ernest” from Cecily,
namely he is surprised when he knows that he has been engaging with Cecily for
three months. (Wilde, 1959: 46)
He
is also surprised when he knows that “Ernest” has ever written some letters to
Cecily.
Cecily.
Yes, you’ve wonderfully good taste, Ernest. It’s the excuse I’ve always given
for your leading such a bad life. And this is the box in which I keep all your
dear letters. [Kneels at table, opens box, and produces letters tied up with
blue ribbon.]
Algernon.
My letters! But, my own sweet Cecily, I have never written you any letters.
(Wilde, 1959: 44)
Those
Cecily’s confessions make Algernon very glad to be Ernest, as unexpectedly
“Ernest” is very close to Cecily and he is everything for Cecily. It is a very
fortune for him. He, at last, really falls in love with Cecily.
Algernon
is getting worried because Cecily likes the name of Ernest. Cecily says she
would not love him if his name were not Ernest.
Algernon.
But, my dear child, do you mean to say you could not love me if I had some
other name? (Wilde, 1959: 45)
Cecily.
But I don’t like the name of Algernon.
Algernon.
Well, my own dear, sweet, loving little darling, I really can’t see why you
should object to the name of Algernon. It is not at all a bad name. In fact, it
is rather an aristocratic name. Half of the chaps who get into the Bankruptcy
Court are called Algernon. But seriously, Cecily... [Moving to her]... if my
name was Algy, couldn’t you love me?
Cecily.
[Rising.] I might respect you, Ernest, I might admire your character, but I
fear that I should not be able to give you my undivided attention. (Wilde,
1959: 45)
Algernon
has to confess, at last, that his friend Bunbury has died because he only wants
to be an “Algernon” who loves Cecily, and may be according to him the Bunbury
will bother his love to Cecily someday.
4.2.2
The External Conflict
The external conflicts experienced by Jack and
Algernon occur in many occasions and with others character.
Jack conflicts with Algernon when he wants to propose
Gwendolen, but Algernon do not give his consent to him because he suspects that
Jack has another girl named Cecily.
Algernon. it isn’t. It is a great truth. It accounts for the
extraordinary number of bachelors that one sees all over the place. In the
second place, I don’t give my consent. (Wilde, 1959: 6)
Algernon. My dear fellow, Gwendolen is my first cousin. And before I
allow you to marry her, you will have to clear up the whole question of Cecily.
(Wilde, 1959: 6)
The conflict continues when Lady Bracknell knows that
her daughter, Gwendolen, has just been engaged by Jack.
Lady
Bracknell. Pardon me, you are not engaged to any one. When you do
become engaged to some one, I, or your father, should his health permit him,
will inform you of the fact. … (Wilde, 1959: 17)
Jack has to face Lady Bracknell’s questions first
before he engages Gwendolen. After several questions from Lady Bracknell are
answered by Jack, he still does not get Lady Bracknell’s consent to marry Gwendolen.
Lady Bracknell is very astonished when she knows that Jack is an Orphan and has
an unclear origin.
Lady
Bracknell. Me, sir! What has it to do with me? You can hardly imagine
that I and Lord Bracknell would dream of allowing our only daughter - a girl
brought up with the utmost care - to marry into a cloak-room, and form an
alliance with a parcel? Good morning, Mr. Worthing! (Wilde, 1959: 21)
Jack is very angry when he reveals that Algernon is at
the Manor House. Jack knows what Algernon’s aim to meet Cecily, that is why he
wants Algernon to leave the Manor House. He does not want Algernon to bunbury
in Manor House by using the name of Ernest to flirt Cecily, because Cecily is
too young for Algernon.
Algernon. I would rather like to see Cecily.
Jack. I
will take very good care you never do. She is excessively pretty, and she is
only just eighteen. (Wilde, 1959: 24)
Jack.
you young scoundrel, Algy, you must get out of this place as soon as possible.
I don’t allow any Bunburying here. (Wilde, 1959: 39)
When Cecily reveals that Jack does not have any
brother and is surprised that her “Ernest” is actually Algernon, she
immediately goes mad. And it happens to Gwendolen as well, she finally reveals
that Jack has been lying to her. She is disappointed as soon as she knows that
her “Ernest” is Jack.
Jack.
[Slowly and hesitatingly.] Gwendolen - Cecily - it is very painful for me to be
forced to speak the truth. It is the first time in my life that I have ever
been reduced to such a painful position, and I am really quite inexperienced in
doing anything of the kind. However, I will tell you quite frankly that I have
no brother Ernest. I have no brother at all. I never had a brother in my life,
and I certainly have not the smallest intention of ever having one in the
future. (Wilde, 1959: 54)
Gwendolen.
I am afraid it is quite clear, Cecily, that neither of us is engaged to be
married to any one. (Wilde, 1959: 54)
Jack blames Algernon because his secret of being
Ernest is finally revealed. According to him it due to his “bunburying” at
Manor House. Therefore, as Cecily’s guardian he does not agree if Algernon
engages Cecily, because it is very impolite.
Jack.
This ghastly state of things is what you call Bunburying, I suppose? (Wilde,
1959: 54)
Jack.
As for your conduct towards Miss Cardew, I must say that your taking in a
sweet, simple, innocent girl like that is quite inexcusable. To say nothing of
the fact that she is my ward. (Wilde, 1959: 55)
Algernon reciprocates Jack by saying the same thing
that he will not let Jack marries with Gwendolen, as she is his cousin.
Algernon.
I don’t think there is much likelihood, Jack, of you and Miss Fairfax being
united. (Wilde, 1959: 55)
Algernon.
I can see no possible defence at all for your deceiving a brilliant, clever,
thoroughly experienced young lady like Miss Fairfax. To say nothing of the fact
that she is my cousin. (Wilde, 1959: 55)
Again, Jack resists Algernon’s will to marry Cecily,
although Lady Bracknell gives her consent to both Algernon and Cecily. Finally
he gives and offering to Lady Bracknell that he would give his consent to
Algernon to marry Cecily if only she gives her consent to him to marry Cecily.
Lady
Bracknell. You are perfectly right in making some slight alteration.
Indeed, no woman should ever be quite accurate about her age. It looks so
calculating... [In a meditative manner.] Eighteen, but admitting to twenty at
evening parties. Well, it will not be very long before you are of age and free
from the restraints of tutelage. So I don’t think your guardian’s consent is,
after all, a matter of any importance. (Wilde, 1959: 66)
Jack.
But my dear Lady Bracknell, the matter is entirely in your own hands. The
moment you consent to my marriage with Gwendolen, I will most gladly allow your
nephew to form an alliance with my ward. (Wilde, 1959: 67)
A conflict between Jack and Miss Prism also takes
place when Jack insists Miss Prism to say the truth, who his parents is. After
showing a handbag, Miss Prism admits that it is hers, where she put the baby
and left it in the cloakroom of Victoria Station. He thinks that Miss Prism is
his mother, but actually she does not, because she has never married yet
before, even at her age now. He finally reveals his parents through the
explanation of Lady Bracknell.
Jack.
Miss Prism, this is a matter of no small importance to me. I insist on knowing
where you deposited the hand-bag that contained that infant. (Wilde, 1959: 69)
Miss
Prism. [Calmly.] It seems to be mine. Yes, here is the injury it
received through the upsetting of a Gower
Street omnibus in younger and happier days. Here
is the stain on the lining caused by the explosion of a temperance beverage, an
incident that occurred at Leamington. And
here, on the lock, are my initials. I had forgotten that in an extravagant mood
I had had them placed there. The bag is undoubtedly mine. I am delighted to
have it so unexpectedly restored to me. It has been a great inconvenience being
without it all these years. (Wilde, 1959: 70)
Jack.
[In a pathetic voice.] Miss Prism, more is restored to you than this hand-bag.
I was the baby you placed in it. (Wilde, 1959: 71)
Miss
Prism. [Recoiling in indignant astonishment.] Mr. Worthing! I am
unmarried (Wilde, 1959: 71)
The writer concludes that both internal and external
conflicts of the main characters may be included as approach-approach conflict.
Algernon and Jack have “doubled” their selves by using different name in
different place. Firstly, they are comfortable with the situation the do.
However, eventually, their duality causes them to choose one of two different
names. In the end, Algernon has “to kill” and chooses to become himself,
Algernon, because he has no choice since Cecily knows that he was not Ernest.
And Jack chooses to become Ernest, although he has intended to disappear
Ernest, but he finally finds that he is the real Ernest.
4.3 The Plot of Oscar Wilde’s The Importance
of Being Earnest
4.3.1
Exposition
The
exposition of the play is some obstacles faced by Jack and Algernon. Jack faces
many obstacles
to his romantic union with Gwendolen. One obstacle is presented by Lady
Bracknell, who objects to what she refers to as Jack’s “origins” (i.e. his
inability to define his family background).
Lady Bracknell.
To lose one parent, Mr. Worthing, may be regarded as a misfortune; to lose both
looks like carelessness. Who was your father? He was evidently a man of some
wealth. Was he born in what the Radical papers call the purple of commerce, or
did he rise from the ranks of the aristocracy? (Wilde, 1959: 20)
Another
obstacle is Gwendolen’s obsession with the name “Ernest,” since she does not
know Jack’s real name. Jack afraid Gwendolen will not love him again if his
name is not Ernest.
Jack. But you
don’t really mean to say that you couldn’t love me if my name wasn’t Ernest?
Gwendolen. But your name is Ernest.
Jack. Yes, I know it is. But supposing it was something else? Do you
mean to say you couldn’t love me
then? (Wilde, 1959: 15)
Although Jack does not care either his name Ernest or not, but
Gwendolen loves very much the name of Ernest as the name is suitable for Jack and, according to her, it can
create “a vibration” like music.
Gwendolen. It suits you perfectly. It is a divine name.
It has a music of its own. It produces vibrations.
Gwendolen. Jack?... No, there is very little music in
the name Jack, if any at all, indeed. It does not thrill. It produces
absolutely no vibrations... I have known several Jacks, and they all, without
exception, were more than usually plain. Besides, Jack is a notorious
domesticity for John! And I pity any woman who is married to a man called John.
She would probably never be allowed to know the entrancing pleasure of a single
moment’s solitude. The only really safe name is Ernest. (Wilde, 1959: 16)
Other obstacle faced
by Algernon also comes from Jack. When Algernon wants Jack to explain clearly
about a name of Cecily. Algrenon will not allow Jack to marry Gwendolen before
he explains about the matter.
Algernon. My dear fellow, Gwendolen is my first cousin. And before I allow you to
marry her, you will have to clear up the whole question of Cecily. [Rings
bell.]
Jack. Cecily! What on earth do you mean? What do you mean, Algy, by Cecily! I
don’t know any one of the name of Cecily. (Wilde, 1959: 6)
Meanwhile, the
obstacle faced by Algernon is Jack does not allow him to know his address in
the country. Because Jack suspects him Algernon will meet her, and may be will
fall in love with her.
Algernon. Where is that place in the country, by the
way?
Jack. That is nothing to you, dear boy. You are
not going to be invited... I may tell you candidly that the place is not in
Shrospshire. (Wilde, 1959: 9)
4.3.2
Rising Action
Algernon discovers
that Jack is leading a double life and that he has a pretty young ward named
Cecily.
Jack. My dear fellow, there is nothing improbable about my explanation at
all. In fact it’s perfectly ordinary. Old Mr. Thomas Cardew, who adopted me
when I was a little boy, made me in his will guardian to his grand-daughter,
Miss Cecily Cardew. Cecily, who addresses me as her uncle from motives of
respect that you could not possibly appreciate, lives at my place in the
country under the charge of her admirable governess, Miss Prism. (Wilde, 1959:
9)
The
revelation of Jack’s origins causes Lady Bracknell to forbid his union with Gwendolen.
Lady Bracknell doesn’t want her daughter, Gwendolen, marries a man who has
undefined life background.
Lady Bracknell. Me, sir! What has it to do with me? You can hardly imagine that I and
Lord Bracknell would dream of allowing our only daughter - a girl brought up
with the utmost care - to marry into a cloak-room, and form an alliance with a
parcel? Good morning, Mr. Worthing! (Wilde, 1959: 21)
Algernon finally knows Jack’s address in the country. He
carefully snoops and listens when Jack is speaking to Gwendolen. He writes
Jack’s address in the country and immediately plans
to go to the country for “bunburying”.
Gwendolen. The story of your romantic origin, as related to me by mamma, with
unpleasing comments, has naturally stirred the deeper fibres of my nature. Your
Christian name has an irresistible fascination. The simplicity of your
character makes you exquisitely incomprehensible to me. Your town address at
the Albany I
have. What is your address in the country?
Jack. The Manor House, Woolton, Hertfordshire.
[Algernon,
who has been carefully listening, smiles to himself, and writes the address on
his shirt-cuff. Then picks up the Railway Guide.] (Wilde, 1959: 25)
Identifying himself as “Ernest,” Algernon visits Jack’s house
in the country and falls in love with Cecily.
Algernon. To-morrow, Lane, I’m going Bunburying.
Algernon. I shall probably not be back till Monday. You can put up my dress
clothes, my smoking jacket, and all the
Bunbury suits . . . (Wilde, 1959: 26)
4.3.3
Climax
The play reaches its climax when
Algernon comes to Jack’s house (Manor House) to meet Cecily. He confesses to
Cecily as Ernest, Jack’s brother. Then problems come as soon as Gwendolen
arrives at the Manor House. Both Cecily and
Gwendolen argue each other that they are Ernest’s fiancée.
Gwendolen. I felt there was some slight error, Miss Cardew. The gentleman who is
now embracing you is my cousin, Mr. Algernon Moncrieff. (Wilde, 1959: 53)
Cecily. [Breaking away from Algernon.] Algernon Moncrieff! Oh! [The two girls
move towards each other and put their arms round each other’s waists
protection.] (Wilde, 1959: 53)
Finally, Gwendolen and Cecily discover that both Jack and Algernon have been
lying to them and that neither is really named “Ernest.”
Jack. [Standing rather proudly.] I could deny it
if I liked. I could deny anything if I liked. But my name certainly is John. It
has been John for years. (Wilde, 1959: 53)
4.3.4
Falling Action
An
incidentally meeting between Lady Bracknell with Miss Prism to ask the
existence of male baby, which she took
care of twenty-eight years ago, makes Miss Prism tell the whole true story of
Jack’s origin.
Lady
Bracknell. [In a severe, judicial voice.] Prism! [Miss Prism bows her head in shame.]
Come here, Prism! [Miss Prism
approaches in a humble manner.] Prism! Where is that baby?... (Wilde, 1959: 69)
Finally Jack Confess to
Gwendolen and Cecily that he doesn’t have any brother named Ernest. He makes
reason of being Ernest in town is in order to be easy to meet Gwendelon as
often as he wants. And Algernon’s reason being Ernest is that he just wants to
meet Cecily.
Then Miss Prism tries to
explain what actually had happened twenty-eight years ago, she said that the
baby in a handbag had been converted with novels of her work.
Miss
Prism. Lady Bracknell, I admit with shame that I do not know. I only
wish I did. The plain facts of the case are these. On the morning of the day
you mention, a day that is for ever branded on my memory, I prepared as usual
to take the baby out in its perambulator. I had also with me a somewhat old,
but capacious hand-bag in which I had intended to place the manuscript of a
work of fiction that I had written during my few unoccupied hours. In a moment
of mental abstraction, for which I never can forgive myself, I deposited the
manuscript in the basinette, and placed the baby in the hand-bag. (Wilde, 1959:
69)
Miss Prism is revealed as the governess who mistakenly abandoned Jack as a baby
and Jack is discovered to be Algernon’s elder brother.
After
learning Jack and Algernon reason, Cecily and Gwendolen, at last, forgive them.
This resolution is ended with a happy ending, which is Jack at last reveals his
real parents through the explanation of Miss Prism. She says that she put the
baby in a handbag, and involuntary she leaves the handbag in Victoria Station,
The Brighton Line, London.
The handbag is as a proof of Jack’s origin, who in fact Jack’s parents are also
Algernon’s parents. Thus, there are brother.
Jack.
Algy’s elder brother! Then I have a brother after all. I knew I had a brother!
I always said I had a brother! Cecily, - how could you have ever doubted that I
had a brother? [Seizes hold of Algernon.]
Dr. Chasuble, my unfortunate brother. Miss Prism, my unfortunate brother.
Gwendolen, my unfortunate brother. Algy, you young scoundrel, you will have to
treat me with more respect in the future. You have never behaved to me like a
brother in all your life. (Wilde, 1959: 71)
4.3.5
Resolution (Denouement)
Jack’s original name is still curious for him. He asks
Lady Bracknell what was his original name. Lady Bracknell said that a son used
to be named after his father. He tries to look it up under army lists, and it
is said that his full name is Ernest John Moncrieff.
Jack.
The Army Lists of the last forty years are here. These delightful records
should have been my constant study. [Rushes to bookcase and tears the books
out.] M. Generals... Mallam, Maxbohm, Magley, what ghastly names they have -
Markby, Migsby, Mobbs, Moncrieff! Lieutenant 1840, Captain, Lieutenant-Colonel,
Colonel, General 1869, Christian names, Ernest John. [Puts book very quietly
down and speaks quite calmly.] I always told you, Gwendolen, my name was
Ernest, didn’t I? Well, it is Ernest after all. I mean it naturally is Ernest.
(Wilde, 1959: 73)
The very
important thing is that Jack finally know his real name is Ernest. Therefore,
he feels no meaningless during the time telling to every one that his name is
Ernest and having a little brother.
4.4 The Influence of The Main Characters’
Conflicts Toward Plot In Oscar Wilde’s The Importance of Being Earnest
A detail discussion is needed for a complete
analysis of those two variables of the main characters’ conflicts and the
plots. Therefore, in this thesis the writer tries to find out the influence of
those variables.
After
analyzing the characters, the main characters conflicts and the plots, the
writer found that they supported each other. Based on the title of this thesis,
there are influences of the main characters toward plot. Sequences of the plot
prove that the conflicts mainly derive from the main characters.
Jack’s
internal conflicts such as, his ambiguity of being Ernest in town and Jack in
the country, more or less as the cause of many events. For example, he begins
to worry if someday Gwendolen does not love him again because his name is not
Ernest. He, afterward, makes a plan “to kill” or disappear his created brother.
As soon as he arrives from town, he makes an untruthful news to Cecily that his
brother, Ernest, was die in Paris
suffered from cold. He also asks Dr. Chasuble to christen him as “Ernest” as
soon as possible.
The
Jack’s internal conflicts as mentioned above causes the plot develops into
climax, that is the revelation of his being Ernest. Although his undercover of
being Ernest in the end is revealed, he still afraid of being left by
Gwendolen. What he afraid of at last become true. Gwendolen goes angry and does
not want to talk to him.
Jack’s
inner conflicts develop to approach a clue about his origin. Here is the
falling action of the plot appears. He still confuses who really he is, as he,
in fact, still has the handbag. Miss Prism’s statement is the first clue. The
she points to Lady Bracknell when Jack pushes her to tell the truth about his
parents. He understands and believes that he is Ernest when Lady Bracknell
tells everything. What a happy moment and really a surprise when he realizes
that Algernon is his brother.
The
same internal conflict occurs to Algernon as well. Commonly, Algernon has the
same problem as Jack, that is about their dual identity. Algernon’s created
friend, “Bunbury”, is an object for him to refuse Lady Bracnell’s dinner
invitation. Hereinafter, he is interested to use the name of Ernest to flirt
Cecily. As the result, he gets the impact as Jack does. He has to choose the
name Algernon or being Ernest who is loved by Cecily. Of course, he chooses the
name Ernest, because Cecily is very charming and crazy about Ernest more than
he knows.
The
internal conflict of Algernon also causes the plot develops into climax,
because the revelation of his character by Cecily happens at the same time as
Jack. The appearance of Gwendolen at Manor House is the main cause. She thought
that Cecily has been misunderstanding about Ernest, because the “Ernest” as
Cecily known is Gwendolen’s cousin. In addition, Cecily clear up Gwendolen that
her “Ernest” is Cecily’s guardian.
Cecily.
[Very sweetly.] I knew there must be some misunderstanding, Miss Fairfax. The
gentleman whose arm is at present round your waist is my guardian, Mr. John
Worthing. (Wilde, 1959: 52)
Gwendolen.
I felt there was some slight error, Miss Cardew. The gentleman who is now
embracing you is my cousin, Mr. Algernon Moncrieff. (Wilde, 1959: 53)
Finally,
Jack confesses that he have no brother named Ernest. Therefore, both Algernon
and Jack’s identity are disclosed. It makes Gwendolen and Cecily upset and
disappointed.
Jack.
[Slowly and hesitatingly.] Gwendolen - Cecily - it is very painful for me to be
forced to speak the truth. It is the first time in my life that I have ever
been reduced to such a painful position, and I am really quite inexperienced in
doing anything of the kind. However, I will tell you quite frankly that I have
no brother Ernest. I have no brother at all. I never had a brother in my life,
and I certainly have not the smallest intention of ever having one in the
future. (Wilde, 1959: 54)
While
the external conflicts of the main characters influences the plot are begun
with the conflict between Jack and Algernon or Algernon and Jack. The cigarette
case is as the main cause of their conflict. Algernon suspects Jack has another
woman named Cecily. Therefore, he will not let him to propose Gwendolen before
Jack explains about the woman (Cecily).
The
conflict above is a beginning of the exposition of the plot which contains
several obstacles faced by Jack and Algernon. The first conflict relates to the
next conflict namely between Jack and Lady Bracknell. Lady Bracknell refuses to
give her consent to their engagement, Jack and Gwendolen.
Lady
Bracknell. Pardon me, you are not engaged to any one. When you do
become engaged to some one, I, or your father, should his health permit him,
will inform you of the fact. An engagement should come on a young girl as a
surprise, pleasant or unpleasant, as the case may be. It is hardly a matter
that she could be allowed to arrange for herself... And now I have a few
questions to put to you, Mr. Worthing. While I am making these inquiries, you,
Gwendolen, will wait for me below in the carriage. (Wilde, 1959: 17)
Lady
Bracknell considers Jack as man with a misfortune because he has lost his both
parents. She will not give her consent until he found his parent. It is the
rising action of the plot.
Another
external conflict is faced by Algernon towards Jack. Jack does not allow
Algernon to know his address in the country, because he knows if Algernon knows
it, Algernon would try to attract Cecily, and he does not want it happens.
Algernon.
Where is that place in the country, by the way?
Jack.
That is nothing to you, dear boy. You are not going to be invited... I may tell
you candidly that the place is not in Shropshire.
(Wilde, 1959: 9)
As Algy is a smart man, He uses his chance to
know Jack’s address when Gwendolen meets Jack to ask his address. Carefully
Algernon listen behind.
The
Algernon’s conflict above causes the advance of the plot into rising action. He
plans to meet Cecily at Manor House alone. It is what he called “bunburying”.
The
climax is the revelation of Jack’s secret about his brother Ernest. Then it is
followed by revelation of Algernon identity in front of Cecily and Gwendolen.
Since
Jack knows that Algernon has arrived at Manor House, he goes mad because he
knows Algernon’s intention. Then Gwendolen comes to see her “Ernest” at Manor
House. At last, both Cecily and Gwendolen identify that there is no one named
Ernest, as Algernon and Jack have been telling the untruth about their name.
Gwendolen (severely) Had you never a brother of any
kind?
Jack. (pleasantly)
Never. Not even of any kind. (Wilde, 1959: 54)
The
climax above can be included that it is due to the conflict between Jack and
Algernon. If Jack told his address to Algernon and give his consent to Algernon
to love Cecily, their real identity would not revealed.
The
climax goes down to falling action of Jack’s origin. Miss Prism is the first
key to reveal Jack’s origin. She is actually the person who abandoned a baby at
Victoria Station. The baby is Jack. Jack thought she is his mother, but she
does not. She points her finger at someone who can explain all about him, she
is Lady Bracknell. Lady Bracknell, in fact, is Jack’s aunt, because his mother
is Lady Bracknell’s sister. Moreover, Algernon is his brother.
Lady
Bracknell. I am afraid that the news I have to give you will not
altogether please you. You are the son of my poor sister, Mrs. Moncrieff, and
consequently Algernon’s elder brother. (Wild\e, 1959: 71)
The
plot is ended with the resolution of Jack’s original name. Based on the
information he got from his aunt, Lady Bracknell, he found his original name on
army lists. And proudly he said that his name is Ernest.
Jack. … I always told you,
Gwendolen, my name was Ernest, didn’t I? Well, it is Ernest after all. I mean
it naturally is Ernest. (Wilde, 1959: 73)
The
writer considers that both falling action and resolution are influenced by the
conflict of between Jack and Miss Prism. If he did not meet Miss Prism, he
would never know his origin and his original name.
CHAPTER V
CONCLUSION
Concerning with the topic discussed in the preceding chapter, the writer
focuses on the influence of the main characters’ conflicts toward plot. Hence,
the writer finds several important conclusions from the analysis. The main
characters in the play are Jack and Algernon. Both of them experience some
conflicts which influence the plot of the story. The conclusions found by the writer relating to analysis are,
firstly, that Jack and Algernon as the main characters have complex characters
which are intentionally created. They are urban people who also love to live in
the country. Therefore, they make their own “duplicate” with different
character for their own aim. Having two
different names, they can do anything in two different places, in town and in
the country, even both of them use the same name of Ernest to get girls they
want. Their double characters seem to make them involved in conflicts. The
conflicts are both internal and external.
Jack is a name when he is in the country, and Ernest is another name in
the town. He tells everyone that Ernest is his brother. He carries out both
characters, Jack and Ernest, because he wants to come up to town to meet
Gwendolen as often as he wants. Besides, Gwendolen loves
the name of Ernest so much. While Algernon is Algernon in the town and
Bunbury is another name in the country. Bunbury is an unlucky friend of him who
lives in the country. He is an invalid person during his life.
Secondly, their conflicts made the plot of the drama interesting. The
conflicts mainly focus on the problem of Jack and Algernon because of their
double characters. They are anxious about their real identity having been
recognized in the future. Jack always acts as Ernest in front of Gwendolen, as
she loves the name a lot. Jack learns that Gwendolen would not love him if his
name were not Ernest. He also has to face Gwendolen’s mother, Lady Bracknell,
who unwisely refuses his eagerness to love Gwendolen because of his
indistinguishable family background.
While Algernon takes an advantage of being Bunbury. He can avoid his
aunt’s, Lady Bracknell, invitation to have dinner, as he knows it would be a
boring night. Since he learns that Jack has been undergoing a double character,
as Ernest, like he does, he is interested to be Ernest in Jack’s country. He
does that, as he knows there is a beautiful and charming girl, Cecily, who is
waiting for a love from a man named Ernest. Luckily, Cecily is really a woman
who loves Ernest very much. Algernon attempts to persuade Cecily if his name
was not Ernest. Cecily said that he would not love another name instead of
Ernest.
As the result, the situation is getting mess when Jack finds Algernon
pretend as Ernest in his house, Manor House. Jack insists Algernon to leave his
house, but Algernon refuses his willing. The circumstance is getting worse by
the presence of Gwendolen to Manor House. A misunderstanding of between
Gwendolen and Cecily about Ernest cannot be avoided. Finally, Gwendolen and
Cecily reveal that none of Jack or Algernon is Ernest. That is a big problem
for Jack and Algernon. Gwendolen and Cecily are angry with them. But at last
they forgive them after confessing their guilty.
Thirdly, the conflicts above take Jack to the revelation of his origin.
He finds out Lady Bracknell’s explanation about his mother. She states that
Jack’s mother is her sister. For that reason, he does not realize that he
actually has a brother, Algernon. And Jack, proudly, announces that he is the
real Ernest.
In the drama the author actually intends to reveal that may be a person
is not honest as he once is. The main characters change their names to reach
their purpose of getting the girls they love. Their intention of changing their
names is actually to achieve the girls’ affection. The preceding statements can
be assumed that till a person keeps “a skeleton in the cupboard”, it would be
revealed in the end.
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