Beruflich Dokumente
Kultur Dokumente
INTRODUCTION
1.1. Background
There are many languages in the world and to be able to communicate with
each other we need to know the system, because language is systematic. Every
language has its own system which is different from other language. English for
example, which is the subject of our study has its own system that it different
expression and though. But, we life with different nation. Until, we need one of
English is begun from junior high school to university and even from
English is one of the most important languages in the world and becomes
as an optional subject.
A lot of have been able to using good or right English until part of
newspaper, writing composition, but, there is not able to analyze story or sentence
or paragraph. In this case, analyzing story can be begun from sentence. And it can
comprehension such as easy to find and use it. The teacher can stimulate students
to learn and arouse the pay more attention to comprehend the reading material.
By using this analysis, we can find all of happed in the story or fill of
story begin from the title, sentence to paragraph. So, to find about that, the writer
DEER.
1.2 Problem Statement
English.
until we ability to know the feel of the story accurately either from clause,
sentence, or paragraph.
This research have limitation, so that, this research can be directed, until,
purpose and unity for their users namely, the quality of coherence.
and is thus not an absolute property, but relative functionally, the three
Example:
Ok. (Acceptance)
there is often some disagreement and confusion about the meaning of both
term “discourse” and “discourse analysis” the approach describe above may
language.
Discourse analysis has been influential in communicative language
than a sentence-but within this broad nation, several different application may
be found.
may be.
listener.
quotation formulas.
communication
Based on classify of discourse above, so, the writer just one of them is
narrative discourse where the writer will analyze one of story or folklore, so, the
a story told to entertain the listener, and sometimes to teach social mores.
There are at least three varieties of narrative discourse. The easiest one to find
is legendary narrative, folktales; tales told so often that everyone knows them.
These stories are important to anthropology, but they often contain a minimum of
per formative material, such as names, places, time and any other identificatory
items. Folktales are familiar to everyone that the teller can leave so much out that
the outsider studying the language cannot follow or understand the story and
some analysts have found that legendary narrative is a distinct discourse type.
The second kind of narrative, and the most valuable kind, is the narration of
past event in the speaker’s life or family. Here we get account of the time I (or
someone) get lost or got hurt badly, or got, or got denounced before the low; what
happened when we move or got married, or went to school, etc. these stories have
been told a few times, but they are not common knowledge, so, they will include
The third kind of a narrative is an episodic narrative; the story of a trip, for
example, where there is not one overall plot but a series of scenes, each with
descriptive material and a few event. After one scene, the action goes one another
place an another scene. The resulting narrative is like a sting of beads, and isn’t to
like this: a straight narrative is heavy and dull. We like more conversation to
break the monotony and liven it up. Some analysist have found narrative
narrative block, another conversation block, and so on. Some have found that
narrative
paragraph, or clause, the optional stages lot filled by a paragraph, or sentence, the
optional narrative post peak slot filled by a paragraph, and the optional finish slot
Explanation:
• The title is expounded by a short clause, phrase or sentence fragment such as,
‘the time I got lost’, the time was planted corn’, and so on;
sister here has asked me to tell about the animals in the woods’, or I am going
to tell about the animals in the woods’ or I am going to tell about when I was
apertures fuller and less cryptic than the exponent of the title. It is a sentence
phrases. Example might be: there was a man. He had two sons. He worked on
and his son helped him’ or one upon a time there was an animal that come up
and ate our sugar cane’, or far away in another land, there are people who…’,
or’ log ago when I was young and went to school’, etc. the main point is that,
in general, the exponent of the stage sets the scene by pinning down time and
events, but in a few cases, people have found the narrative of some
are the major chunks of the discourse and the breaks between episodes are
up the interest, tension, and or suspense, until the peak episode is reached. The
• Some narratives in some languages end with the peak plus a closure and finis,
Events
events and non-events. In Garner, the halfback, made six yard around end
we are told two kinds of things: a particular person did something (that is,
speech may be devoted to nothing but event information, the rules of the
reference system being such that the hearer always knows by dedication
events and non-events, pointed out that difference languages approach the
example, events that are contiguous in time are distinguished from those
that are separated by lapse during which nothing of significance for the
to both time sequence and logical sequence. Cromack, on the other hand,
eventbefore the next beginand continuing the earlier event on into the
contiguity.
two events that are reported as a sequence. If we take as the earlier of the
two events and B as the later, we can distinguish several cases: A finishes
finishes just as B begins, and A does not finish by the time B begins. In the
last case we might have to specify further whether A ends when B ends or
events simply followed one another like beads on a string. Instead, there is
The moving finger of time moves on from event; yet from another point of
factors which probably are part of the rhetorical structure. For example, all
the events that take place at a particular setting tend to be treated as a unit.
same time sequence in that all the action in each part involve uniform
participants for that paragraph, in that the rest of the actions in the
thematization.
by casting the more prominent referents I it in standard role like hero and
villain.
communicating forked action as in you take the high road and I’ll take the
pushing.
many things jungle encampment. Although all the events, which involve
took place in some real sequence, they are explicitly marked in ayore by
suspended.
Non-Event in Discourse
are several part that include into non- event and they will used to analyze
1. Setting
parts.
Range is part of the definition of every action. For example, with the
English word climb, the surface on which the climbing is done is an
because the range is readily deducible from the context, never because it is
irrelevant to the action. other action like think and say, on the other hand,
do not have a range element as part of their semantic because range is not
part of the normal semantics of those actions. So, a true setting is capable
of any one of their meaning: While I was in Phoenis I had agreat idea
was ten in the morning. Range information, on the other hand, cannot be
separated: when he was at the street corner, he climbed does not give for
the range for climb; it is necessary to make range part of the same clause,
as in e climbed the flagpole or he climbed the path that led from these.
certain other points are related to that setting, yet standing outside it.
The paragraph may end with one of the participants going to one
of those peripheral points. A new paragraph that begins with the signal
that the setting is to be change may than pick up the peripheral point at
which the action of the last paragraph ended and make that into the setting
for the next paragraph Oksapmin of Papua New Guinea does something
similar, except that the setting of the shifting does not seem to be related
back” are used for excursions out from that setting and back. If a “go” is
the text.
for example, takes as the firs setting of a narrative the place where the
person stood from who spatial viewpoint the story is told.. The setting also
Oksapmin setting lie; it must be deduced by the hearer from the speaker’s
pattern of use of prefixes like ma- ‘here’, or more exactly ‘within the
particular action.
as a single unit, whether its effects or said to persist, all are independent of
the general time framework of the narrative, just as the place where an
whether its effect or said to persist, all are independent of the general time
kind of calendared system. the term is used broadly to include but only
recognized temporal events like at the first new moon after the solstice or
when the corn developed its second joint or event the old Testament’s at
actions and later group: “after three years”, “the next day”, “when the
Next came to power”. The time may also be established with reference to
the time of telling: “last year… within the last three weeks, however”,
in other cases: “Now he was three years older”, “by the time she got
responsibilities”.
temporal setting. Mumuye nigeria has behavior like “the horns wee
2. Background
attempt to explain. It has this explanatory form even when the logic in it is
nowhere in sight. The logic may be shaky and the premises flawed, but to
in several ways. He may for example, state premises I his argument that fill
the place of premises in the structure but that are far removed from the real
hearer.
embedded narratives, though the ones I have noticed so far are mach less
rich in structure than the main narratives on which they are supposed to shed
In the Sarramaccan case they are the same. In Parables, which are a special
Jesus, who herod thought must be john come to life. The supporting
narrative goes back to the death of john and brings in herod’s brother Philip
and his former wife herodias, whom herod had married, together with
herodias’s daughter.
Non of the event involved in the peripheral story touch the main narrative
narrative. Only two of the participants, herod and John, appear in both
narratives.
the narrative. In a time framework that is removed from that of the narrative.
In term of literal’s index they are removed from the main time of the
sequences that relates to time segment n in the main narrative has in its
indices of the form n-k + I, where i= 1,3,5,… for the events within it. This
uses the past perfect tense to point out a displacement; in the preceding
paragraph we can see the example whom herod had married for just this
reason.
are essentially independent of the structure and cast of the main sequence.
Foreshadowing has two uses in narrative. First, it explain the main events
by stating a sequence of events that might result later from the main action.
Second, it may fill in the semantic content of part of the main events a
sequence well before the events are usually asserted to have taken place.
“He married Cindy so that he could drain her fortune off to a numbered
got wind of it and advised Cindy to switch to municipal bonds over which
Here drain her fortune off is not asserted as has having happened; the
As we leave this drama we are not told whether Cindy ever got to her
assertion that soap operas are woven; but the pattern also has its serious
uses.
Foreshadowing shades off into collateral information. There are slight
differences in emphasis between the two but which of them is intended may
3. Evaluations
The reactions that are expressed come from several sources. The most
obvious is the speaker’s own evaluation: here comes that the black guard
Jones not only identifies Jones and sets the action in the speaker’s
immediate environment, but also lets the hearer know what the speaker
thinks of Jones. Aristotle points out the difference between “orates the
matricide” and “Orestes the avenger of his sire”, depending on what the
speaker thinks of Orestes. Winograd shows how a word like “nice” tells us
nothing about the object it is applied to, but only about the attitude of the
have has own opinions of things, and the speaker may feel that he knows
chorus brought society’s expectation of what was proper into the play, and
weighed the action of the participants less against the personal factors that
influenced their choices than against the factors that all agreed should have
been decisive. In some ways the omniscient viewer of modern story telling
why the rest of the discourse is being told, or at the end as a moral to the
another that as far as he was concerned what they just did was the wrong
thing to have done. Labov and Waletzky discuss the use of evaluative
statements of this kind. They occur in English between the complication part
immediately preceding event or the entire situation of the story or even the
evaluations on choice of words. Not only one man’s poison, but what is
garishness for another, and what one calls love another sees as
sentimentality.
It all depends on how one looks at it, literally. Thus there are words
that always represent good things, such as loyal, true, mother, and the whole
list that includes “Remember the Maine, Plymouth Rock, and the Golden
Rock” in the song “Trouble” from Meredith Wilson’s The Music Man.
On the other hand, there are words that always represent bad things:
ghastly, traitor, decay. Other words float in between, depending partly on the
temper of the times (the chorus function) and partly on the immediate
context. Charles Osggod shows how the evaluative component of words can
Evaluation bring the hearer more closely into the narrative; they
communicate information about feelings to him that goes beyond the bare
conversation, and even monologues, the hearer may be pressed to give him
own evaluation: what do you think? How do you suppose the took that?
how the speaker feels, there is often an implication that the hearer ought to
adopt the same attitude. Stories with a moral are characteristically of this
kind. Where the evaluation itself is the punch line, the discourse is hortatory
inform, and may take the form “because these things happened, you should
feel as I do”, or “Because this principle holds for the reasons I give, here is
the attitude you must take”. A story with a moral is thus likely to be an
series of events. Here the general form would be “because people felt this
release of tension in a plot, giving cues as to how the action affects the
4. Collateral
tells what did not happen. It ranges over possible events and in so doing sets
off what actually does happen against what might have happened.
who pointed out that collateral information is not restricted to things that
might have taken place but did not. Collateral information also fits into
might not turn out to be so; future tense form predict actions that make not
taka place; imperatives direct people to do things that might or might not be
accomplished.
text, it is usually made clear which of the alternatives happens. At that point
the fact that alternate possibilities were mentioned earlier makes what
actually does happen stand out in sharper relief than if it were told without
collateral.
the real events. Collateral events also have the effect of anticipating content
spelled out in advance. I one of these alternatives is the real one, much of
what has to be said about it have already been said ahead of time. In this
do not take place have significance only in relation to what actually does
happen. Event that are not supposed to happen still may take place; if they
do not, then we are concerned with what else might happen in their place;
while if they do happen contrary to the prediction, that fact that a negative
Other negatives are not really collateral, but are hidden forms of
this type; the meaning is ‘we want you to realize’ followed by the content of
what the readers ought to know. Here the negative has apparently been
raised into the main clause “we want x” from the embedded “you should not
fail to realize”, in which the Greek ouk is cancelled by the privative a-of
These events are named by negation from some other word that also
collateral information. When did John get here? Presupposes that John get
here, so that the area of uncertainty is restricted to the time of his arrivel,
when did you stop beating you wife? Is more complex; it assumes that you
have a wife, that there was a time when you beat here, and there was after
that time. The presuppositions in a question are almost like conditions laid
escape; please tell me which is the case .in English, a positive answer like
yes or he will asserts the positives alternative even if the question is stated
by using the negative member of the pair. Won’t Reginald escaped?
principally in communicating in the letter case that the speaker already has
his own opinion, but that he is interested in getting the hearer’s reaction.
The information about what actually does happen, then, may take
several forms. If non of the collateral expressions give what really happened
content that was mentioned as part of the collateral, but only to affirm which
of the possibilities took place. They were either going to go to Florida for
vocation or camp in the Adirondacks. They did the letter illustrates the
usually not. If it has the form of denial, a question, or a prediction, the three
regular forms of collateral that have just been discussed, then it is clearly
collateral. She said, “he isn’t in the house.” But when we unlocked the door,
there he was. She said, “are you looking for Gaarham? ”When we unlocked
the door, there he was Simmons uses a question to suggest to possible find
that turns out to be different from the actual find. She said “you will find
him in the second room on the right.” When we unlocked the door, there he
watch her weight.. So she went on a diet explains going on a diet by quoting
(indirectly in this case) what the doctor said. As the rocked curved toward
each event is introduced via quotation, and since there are not alternatives,
between the islands, “closer into the shore.” “Far enough?” no answer
from the forest. “try again” “hello the island!” “Marlowe!” “Take her
into an art form; even stage and television plays depend heavily on it, and it
5. Per formatives
Both the form and the content of any discourse are influenced by
information.
The idea is this: in any language there certain words called per
formatives which under the right conditions denote actions that are
performed in the uttering of the words themselves. When the minister says I
pronounced you man and wife a couple are thereby made man and wife;
must be in the first person and the present tense, the minister cannot to
someone else you pronounce them man and wife and thereby perform a
not exercising his office. There are also extralinguistic conditions that are
elementary school pupil can utter I pronounce you man and wife, but only a
seas can say it in a way that performs the action. In the same way, the people
Certain per formatives are quite common and are free of special
limitations on their uses: I hereby order you to turn left and numerous
equivalent forms are one kind that is so common that there is grammatical
form like that of somebody stole the garlic. I hereby request you to identify
that person. The grammatical shorthand for this is the question form who
stole the garlic? By far larger family of performatives fit the pattern I
hereby inform you that your back porch just fell off, for which the
conventional shorthand is the declarative your back porch just fell off.
Behind een simple utterances, then it is possible to say that there stands a
performative element that recognizes the identity of the speaker, the hearer,
deictic (pointing) elements like “this” and “that” or “here” and “there”, and
possible to talk about person, time, and place in a way that should be very
Any paraphrase of this that uses only indirect discourse goes into the
third person and is highly ambiguous in English even with full intonation,
because neither A and B nor C is the author or the reader: A said to B that he
said to him that he saw him. With explicit identification of C there is less
other less easily recognizable factors whose effects can be seen in the outer
form of language and that find their place in the conceptual scheme of
linguistic system. Here also is the place in linguistic structure for registering
the speaker’s assessment of who the hearer is, what he knows, how he feels,
signals from the hearer to the speaker; but it is in term of what the speaker
hold about both himself and the hearer at the moment that he phrase what he
say next.
The performative element not only serves to relate person to the
discourse. but also sets the zero point for time reference. In term of Littera’s
time index, the time axis of a discourse can be represented by the real
number lime. Zero matches the time the actual activity of uttering the
discourse begin, the negative part of the line matches thing that happen
before then, and the positive part matches both the uttering of the discourse
itself and future events that are talked about. Each event including the
English work like now, ago, and yet have explicit reverence to the
relation between the time of speaking and a time referred to. Other words
performative information for that act of speech. The position of speaker and
between all this and the things they are talking about influence to certain
situation, English speaker distinguish this, something near the speaker, from
that, something not near the speaker, though possibly near the hearer, when
however, the use of this and that loses its spatial component and takes on a
reference to what the speaker has or has not said already: the point is this:
you have to forget all that has this pointing ahead to what the speaker is
about to say and this pointing ahead to what the speaker is about to say and
Story is usually concerned with fictitious people or events since they are
produced through the imagination of the author. Even though the source of
politics and the living society, the results are mixed with the author’s
or writing.
However, since the source sometimes emerges from real thing, they are
still universal values that can be obtained. Moreover, the author’s as a human
being, can not rid himself of his feelings and emotions. Human qualities are
find human ideals, goals, and feelings as emotions explored in literary works.
since we have different forms of literary works. We have to take into account
that probably the different forms may give an author a chance to choose one
of them deliberately. A form in which the author conveys his ideas distinctly,
different ways”.
Divided into
sentences
Analysis
Event Setting Backgr Evaluat Collater Perform
ound ion al ative
III. METHOD OF THE RESEARCH
important modes of inquire for the social science and applied field.
Talking about source of data, this data is taken from the book of the story
of The Adventure of The Mouse Deer, where is one of story that will to be
object in this analyzing. The author this book is Willy Yahya. and the first
where the writer look for the book that is suitable to be analyzed and making
fieldwork. Fieldwork includes field note, the writer will collect writing
several note that relate to this analyzing, besides, the book that relate to this
analyzing.
Data is taken from the story of The Adventure of the Mouse deer by
4.1 Teks
5. Where is he?”
6. “He said
7. that l was a coward only brave enough to hunt chickens and goats.”
9. he said that,
10. I was scarred just to see the lion’s shadow the king of the jungle.
12. “I’ll continue to find the mouse deer and give him a lesson of respect
14. One day, the Tiger was able to find the Mouse deer in the middle of the jungle.
26. Well, just a short time ago the royal family of the jungle assigned me to meet you.
32. when are they going to have a big jungle meeting again? Tell me.”
35. “The king ordered you to wear a glossy belt around your already handsome
36. and colorful body just to make look greater and more frightening.
37. The belt was the gift from the great prophet of all animal.”
39. The Mouse deer showed the Tiger a sleeping python, the big snake.
40. “One week after I reported this meeting between you and me,
41. you will be the Supreme Commander.”
47. I am worried,
48. you might get the spell from the prophet if you are not patient enough.”
58. how wonderful he would look with the great belt around his body.
67. The python that was said to be belt from the great prophet
69. Every movement he made only caused the python belt wrap more strongly.
76. and was really shocked to find himself wrapped tightly by a big python.
86. The Tiger was left there alone, fooled and defeated by the Mouse deer, once
again.
90. when I
92. But the Mouse deer had gone too far to be reached.
95. when finally got to border of village where farmers grew cucumbers.
96. The fields were full of various vegetables and crops and were unattended.
99. because they lived in the village quite far from the fields.
100. “Wonderful…
103. The mouse deer greedily ate the cucumbers in the field
104. and spend the rest of the day sleeping on the edge of the jungle nearby.
105. The next morning he could still eat the cucumbers.
106. But the following day, the Mouse deer had to hide behind a big tree.
109. They were really angry because their crops had been destroyed
131. .He saw human begins for the first time and was amazed.
134. The farmer and his wife finally left their field with only very few cucumbers in
their hands.
135. They thought they would harvest the cucumbers in the following week.
139. and ate almost all the new and fresh cucumbers greedily.
145. The next morning, the farmer came to his farm alone to observe his cucumber
crop.
160. he made a trap – a dummy dressed with very glutinous jackfruit sap.
166. motionless while the farmer is very alive?” said Mouse deer.
167. Having installed the dummy in the middle of his cucumber farm,
204. ” The mouse deer kicked the dummy angrily with his other leg and…
209. Now you even have the nerves to hold my other leg!
218. The Mouse deer could only regretted his overconfident action.
219. He could only stare at the clouds floating by in the sky above.
225. Late in the afternoon the farmer came to see his farm.
229. I know
231. It is you.”
237. when the farmer put him into a basket and was taken to his village.
4.2. Finding
Number of Dependent
Dependent Clause Independent Clause
Sentence Clause Clause
1 1 The Adventure Of
Mouse Deer
2 2 Once upon time, a tiger
was roaming in the
jungle
2 3 I have been looking for
the mouse deer all day
3 4 He has humiliated me
5 5 Where is he
5 6 He said
5 7 that l was a coward
only brave enough to
hunt chickens and goats
6 8 At the party in the
jungle the other day
7 9, 10 he said that I was scarred
just to see the
lion’s shadow
the king of the
jungle
7 11 What a mockery
8 12 I’ll continue to find the
mouse deer and give
him a lesson of respect
8 13 so that he stops
bragging
9 14 One day, the Tiger was
able to find the Mouse
deer in the middle of
the jungle
10 15 Mouse deer, How dare
you are to meet me
11 16 Me, the coward Tiger
you said. Gerrr…
12 17 The Mouse deer
trembled in fear
13 18 He fried to control his
fear
13 19 and find a way
to escape from
the Tiger
13 20 You are mighty Tiger
14 21 I have actually been
looking for you for so
long…
15 22 The Tiger was
surprised
16 23 Mouse deer, we need to
make a calculation
16 24 You are right
17 25 We meet here to take
revenge
18 26, 27 Well, just a short time Because you are
ago the royal family of strong and
the jungle assigned me power full
to meet you
18 28 you will be appointed
the Supreme
Commander
19 29, 30 Your skin is beautiful and shows
power and
charm.
20 31, 32 But, my Mouse deer when are they
brother going to have a
big jungle
meeting again?
Tell me
21 33 You mean the assembly
meeting for your
appointment
21 34 As soon as I can
report our meeting
to the king
22 35 The king ordered you
to wear a glossy belt
around your already
handsome
22 36 and colorful body just
to make look greater
and more frightening
23 37 The belt was the gift
from the great prophet
of all animal
24 38, 39 That’s the belt I The Mouse deer
told you about... showed the Tiger a
sleeping python, the
big snake
25 40 One week after I
reported this meeting
between you and me
25 41 you will be the
Supreme Commander
26 42 Dear friend, Mouse
deer
27 43, 44 Between you and me, so that I won’t
let me try the belt on feel clumsy at
the inauguration
party
28 45 You should be a bit
patient Mr. Tiger
29 46 You can wear it later
30 47 I am worried
30 48 you might get the spell
from the prophet if you
are not patient enough
31 49 But the Tiger
insisted on trying
the belt on
32 50 Alright, if that’s what
you want to do, Mr.
Tiger
33 51 To avoid the spell from
the prophet
33 52 you have to close your
eyes
34 53 Please meditate
35 54 This belt is magical
35 55 It feels like a living
creature
36 56 The Tiger happily
followed the Mouse
deer’s instructions
37 57, 58 He closed his eyes, how wonderful
dreaming just he would look
with the great
belt around his
body
38 59 The Mouse deer slowly
moved the python’s
neck
39 60, 61 The python remained was full
asleep because it
40 62,63 He then put the python
around the Tiger’s body
41 It naturally stretched and wrapped the
Tiger’s body
44 64 The Tiger felt very
happy
44 65 and still kept his eyes
closed
45 66 The python that was
said to be belt from the
great prophet
45 67 was already
wrapping
around his body
46 68, 69 Every movement he Meanwhile, the
made only caused the Mouse deer had
python belt wrap more already run
strongly away
46 70 leaving the Tiger in the
danger
47 71 The Tiger was totally
defeated and cheated
48 72 The python wrapped
itself more tightly
49 73 The Tiger could hardly
breathe
50 74, 75 He had open his eyes and was really
shocked to find
himself
wrapped tightly
by a big python
51 76 The python was
even starting to bite
his head
51 77 Luckily, the bites were
not poisonous
51 78 but were painful
enough to hurt him
52 79, 80 The Tiger shouted and shook his
fiercely body
desperately
53 81, 82 The python was when it heard
surprised the sound
54 83, 84 The python loosened and crawled
itself of the Tiger’s into the bush
body nearby, being
afraid the Tiger
would shatter is
body with his
sharp claws
55 86 The Tiger was left there
alone, fooled and
defeated by the Mouse
deer, once again
56 87 You jerk You little Mouse deer
57 89 I’ll never let you live
58 90, 91 when I when see you
again
58 92 But the Mouse deer had
gone too far to be
reached
59 93 He had run into the
deep jungle
60 94 The mouse deer was
wandering around the
jungle
60 95 when finally got
to border of
village where
farmers grew
cucumbers
61 96 The fields were full of
various vegetables and
crops and were
unattended
62 97, 98 The farmers who own them
rarely came to
see their crops
63 99 because they lived
in the village quite
far from the fields
63 100 Wonderful
64 101 I can’t eat cucumbers in
the jungle
64 102 But here… I can eat
as many as I want
65 103, 104 The mouse deer and spend the
greedily ate the rest of the day
cucumbers in the field sleeping on the
edge of the
jungle nearby
66 105 The next morning he
could still eat the
cucumbers
67 106 But the following
day, the Mouse deer
had to hide behind
a big tree
68 107 From his hiding place
68 108 he could see the farmer
and his wife
69 109 They were really angry
because their crops had
been destroyed
69 110 and their cucumbers
almost all eaten
70 111 Oh no!
71 112 There has got to be a
new pest
71 113 All the cucumbers were
ready for harvest
71 114, 115 but now they no Are gone…
cucumbers
72 116, 117 I don’t know where or why
73 118, 119 Pigs or some other might have
animals eaten our
cucumbers
74 Look at this
74 120 There are some pieces
left uneaten
75 121 Said the farmer’s wife
76 122 The farmer was angry
76 123 and moved his sickle
sideway in fury
77 124,125, When I can get the I’ll punish him Then he’ll learn
126 thief
77 127 From a distance
78 128,129 the Mouse deer saw and suddenly
them felt frightened
79 130 He saw human begins
for the first time and
was amazed
80 131 The farmer used his
tools to work on his
land
80 132 and do other activities
skill fully
81 133 The farmer and his
wife finally left their
field with only very
few cucumbers in their
hands
82 134 They thought they
would harvest the
cucumbers in the
following week
83 135,136 After they left the Mouse deer felt
relieved and happy
84 137 The next morning, he
come back to the farm
84 138 and ate almost all the
new and fresh
cucumbers greedily
85 139 He ate only a few bite
of each cucumber and
left
86 140 I am full and satisfied
86 141 Now I have to hide
again
87 142 The rest of them
because there were so
many there
88 143 In the bush on the
border of the jungle
cucumbers around
89 144 The next morning, the
farmer came to his
farm alone to observe
his cucumber crop
90 144, 145 He found the crop in was destroyed
the east part of his farm
91 146 Cucumber left-over
were found everywhere
92 147 Oh no
92 148 Not again
93 149 This is serious
93 150 The thief can’t be
shepperds
94 151 An animal must have
stolen my cucumbers
95 152 I have to make a snare
96 153,154 I am going to trap it But how???
96 155 angry curious
96 156 The farmer left his
farm
97 157 As son as he got home
97 158 he made a trap – a
dummy dressed with
very glutinous jackfruit
sap
98 159,160 He carried the dummy and installed it
to his farm the in the middle of
following morning his cucumber
farm
99 161 Oh there is another
human being
100 162,163 The farmer has brought But why is the
his friend… other man so
stiff and
101 164,165 motionless while the said Mouse deer
farmer is very alive
102 166 Having installed the
dummy in the middle
of his cucumber farm
103 167 The farmer left angrily
104 168,169 Why the human when the breeze
creature and static, tosses him
only nodding his
head
105 170 This one must be a
stupid farmer
106 171 He is different from the
other one leaving
107 172 The Mouse deer tried
to approach it
108 173 But he run
heartedly
109 174,175 when he saw the How foolish I
dummy nodding in can be
the breeze
110 176 The man can’t walk or
run
111 177,178 Why should I be He came closer to the
frightened dummy again
112 179 He looked into the
doll’s eyes this time
113 180 He doesn’t wink
114 181 It does not be human
115 182 It’s just a doll
116 183,184 But boy… He is conceited – trying
to scare me
117 185 You will pay for this
118 186 Realizing that the
dummy couldn’t run to
catch him
119 187 the Mouse deer grew
bold
120 188 The doll had no fingers
and was motionless,
anyway
121 189 You can’t scare me
122 190 Crocodile and Tiger
can’t scare me, let a
lone you
123 191 I have deceived them
all
124 192 The Mouse deer got
closer to the dummy
125 193 He became more proud
of himself
126 194 Here is cucumber for
you
127 195 It’s my gift
128 196 If you overact
130 197 I’ll kick you
131 198,199 The Mouse deer kicked which had been
the dummy covered with
sticky jackfruit
sap
132 200 His front leg was stuck
on the doll
133 201 How dare you are
to hold my leg
134 202 Realize it or I’ll kick
you again
135 203 The mouse deer kicked
the dummy angrily
with his other leg and
135 204 it got stuck again
136 205 He could not move his
two front legs now
137 206 The sticky glue had
made them motionless
138 207 Crazy you…
139 208 Now you even have the
nerves to hold my other
leg
140 209 Set me free
140 210 Other wise, I’ll hit you
141 211,212 I’ll kick you again Then you will
learn
142 213 how to treat the
Mouse deer
143 214 Here are some more
kick
144 215 With his four legs stuck
on dummy
145 216 the Mouse deer could
not move anymore
146 217 The Mouse deer could
only regretted his
overconfident action
147 218 He could only stare at
the clouds floating by
in the sky above
148 219 Boy, those cucumbers
look delicious and fresh
149 220 Too bad I can’t reach
them
150 221 He was stuck on the
farmer’s dummy all
day
151 222 He was really tired
152 223 He knew it was useless
to be angry with the
dummy
153 224,225 Late in the afternoon He was very
the farmer came to see pleased to see
his farm the Mouse deer
154 226 who had eaten his
cucumbers trapped-
stuck on the
clummy
155 227 Aha. Now I get you
156 228,229 I know who was stolen
my cucumbers
157 230 It is you
158 231 You’ll have to pay for
what you did
159 232,233 You’ll make good meat When the
for our curry Mouse deer
heard
160 234,235 what the farmer He regretted his
said, he cried misfortune
161 236,237 He didn’t try to escape when the farmer
put him into a
basket and was
taken to his
village
kinds of information as follows : (1) events, (2) identification, (3) setting, (4)
background, (5) evaluation, (6) collateral, (7) performative. Events are all things done
something by giving name; setting is a places, time, and condition of an event in the
text ; background is information out of the content of the text, not part of the story;
evaluation is information that explain about the feeling of the writer or of the others;
These kinds of information that will be stated in this part by using Thurman
Chart ( Grimes, 1975 cited in Ba’dulu, 1989 ). The vertical lines are for the
participants, one line for each participants. All the events are put in the left side and
short story that is talked, with aim to amuse listener, and sometimes, for
3. episodic narrative, folktales story that is often talked until all of people
know it.
performative, such as name, place, time, and elements of other introducing. This
native speaker in their life. Example, at the time, she is hurt by Giant, doing trip,
almost catch, etc. this story is often talked but, it is not knowledge.
Episodic, a short story where not one is direct but, action, and item of
4.4 Explanation
1. The title can be stated by phrase, clause or sentence, such as, the story of
actor. Stage is not usually include event, but in some cases, people find events
of background
3. Episode, stated by paragraph and insert sentences, are main part sentence, and
4. Peak episode, this episode is chosen and arranged to create attention and
climax till reached episode. Element of climax episode is often marked with
5. Post peak episode, is all of fill of the story, or, review of the story, post peak
used and other elements is optional. In narratives text, there are several insert
5.1 Conclusion
communication assume meaning, purpose and unity for their users: the quality
of coherence.
6. This story is folktales where fill of this story can amuse the listeners or the
readers
7. This story is narrative form where fill of this story is more explain or doing
conversation
8. There are seven actors in this story, namely, Mouse deer, Tiger, King of the
jungle, Piton snake, the Farmer, Farmer’s wife, and the Dummy.
9. Identification of this story introduce actor, who said, such as, at the time The
10. Setting at this story is introduce time, place, such as, the life of the jungle and
in cucumber farm.
11. Evaluation, The mouse deer was wandering the jungle
the story, but in this story, I did not find background before to begin this story
13. Climax of this story, at the time Mouse Deer is the cleaver animal, that catch
by the farmer.
14. this story is ended by a good ending, where the Mouse deer realize with his
5.2 Suggestion
1. In this analysis have a lot of less or lack, I am sure that this analysisng is far