An Analysis on Fairy
Tale by using vladimir Prop method
CERITA
RAKYAT JAMBI :
ASAL MUASAL BUKIT KANCAH
Di dalam sebuah hutan yang lebat di Negeri Tanjung, hidup
tiga orang kakak beradik, Kakak Sulung dan Kakak Tengah adalah laki-laki dan Si
Bungsu seorang perempuan. Semenjak orangtua mereka meninggal, mereka hanya
tinggal bertiga di hutan dan tidak pernah berinteraksi dengan orang lain.
Mereka bertiga terkenal sakti, karena setiap hari mereka berteman dengan
berbagai jenis siluman.
Suatu saat, Negeri Tanjung mendapat ancaman penyerangan dari
negeri tetangga. Sang Raja merasa gundah, karena negeri tetangga sangat kuat.
Lalu, Raja bermaksud meminta pertolongan kedua laki-laki dari tiga bersaudara
tersebut. la mengutus pengawalnya mencari Si Sulung dan Si Tengah untuk datang
ke istana sebelum bulan purnama tiba.
Kakak Sulung dan Tengah mempertimbangkan permintaan Raja
untuk membela Negeri Tanjung. Namun, mereka ragu meninggalkan adik bungsu
mereka sendirian di hutan. Kakak Sulung dan tengah khawatir, adik mereka akan
diganggu oleh makhluk lain atau binatang buas. Kemudian, mereka bertiga
berunding mencari jalan terbaik untuk keselamatan adik mereka.
“Kak, begini saja. Selama kita pergi, adik bungsu kita tutup
dengan sebuah kancah atau kuali yang besar. Lalu, kakak bacakan mantera, sehingga
adik tidak akan dapat dilihat oleh makhluk apa pun,” kata Kakak Tengah.
“Idemu bogus, Dik. Baiklah, sebelum besok kita berangkat ke
istana kita lakukan idemu itu,” kata Kakak Sulung.
Hari berganti dan kedua kakak beradik ini harus segera
menuju ke istana. Ketiga bersaudara itu duduk berkeliling. Mereka berpegangan
tangan dengan sedih, karena sebentar lagi akan berpisah dengan adik bungsu
mereka. Selama ini mereka tidak pernah terpisahkan. Mereka berpelukan sambil
menangis.
Tibalah saatnya, Kakak Tengah mengambil sebuah kancah dan
menutupkannya dengan tubuh Si Bungsu di dalam kancah tersebut. Lalu, Kakak
Sulung membacakan mantera di hadapan kancah yang berisi adik mereka. Setelah
selesai membacakan mantera, kancah tersebut menghilang dari pandangan.
“Nah, adikku sayang, sekarang kau aman, karena tiada seorang
pun yang dapat melihatmu. Kakak berdua akan segera kembali padamu,” kata Kakak
Sulung.
Dengan perasaan sedih, Kakak Sulung dan Kakak Tengah
meninggalkan si bungsu. Mereka menuju istana dan siap untuk membantu kerajaan
menghadapi musuh.
Kakak beradik ini ditunjuk sebagai panglima perang oleh
Raja. Dengan kehebatan mereka dan juga bantuan dari para siluman hutan, mereka
berhasil memenangkan pertempuran.
Setelah memenangi pertempuran ini, Raja mengangkat keduanya
menjadi hulubalang istana. Hal ini membuat iri beberapa hulubalang lainnya.
Kemudian, para hulubalang berusaha menjatuhkan kakak beradik itu dengan bekerja
sama dengan musuh untuk menghancurkan Negeri Tanjung.
Raja Negeri Tanjung meminta mereka untuk menghadapi serangan
para hulubalang yang sudah berkhianat. Kakak beradik yang sakti itu merasa
ragu, karena mereka akan berhadapan dengan kawan-kawan mereka sendiri.
Raja membujuk mereka untuk segera bertindak. Dalam
pertempuran ini, Kakak Sulung gugur, karena ia tidak bisa menggunakan kemampuan
manteranya dalam keadaan masih penuh keraguan untuk berperang melawan
kawan-kawannya sendiri.
Kakak Tengah sangat terpukul dengan kematian kakak sulung,
ia lalu berusaha sekuat tenaga memenangi pertempuran tersebut hingga akhirnya
Negeri Tanjung pun berhasil mengalahkan musuh.
Sebagai rasa terima kasih, Raja Negeri Tanjung lalu
menikahkan putrinya yang cantik dengan Kakak Tengah. Ia berharap Kakak Tengah
dapat menjadi penggantinya kelak memimpin Negeri Tanjung.
Usai pesta pernikahan, Kakak Tengah minta izin kepada Raja
untuk pulang ke kampung halamannya. Ia bermaksud mencari adiknya.
Pertemuan dengan adiknya sungguh mengharukan. Kakak Tengah
menangis sambil memeluk kancah besar yang dipakai untuk menutupi adiknya. Kini,
adiknya tidak dapat terlihat lagi, karena hanya Kakak Sulung yang bisa
membacakan manteranya. Ia hanya dapat mendengar suara adiknya tanpa bisa
melihat wujudnya lagi. Si Tengah menangis sambil memeluk kancah tersebut.
Kepada adiknya ia menceritakan bahwa kakak mereka telah tiada. Si Bungsu
menangis tersedu-sedu. Mereka saling melepas rindu dengan bercakap-cakap.
Setelah puas bercakap-cakap, Kakak Tengah minta izin kepada
adiknya untuk kembali ke istana.
“Tunggulah, adikku. Kakak pasti akan mencari cara untuk
membebaskanmu sehingga kau dapat terlihat kembali,” janji Kakak Tengah. Adik
Bungsu kembali menangis tersedu-sedu.
Si Tengah kembali ke kerajaan.
Ia terus berpikir bagaimana cara menyelamatkan adiknya.
Namun, sampai bertahun-tahun ia belum menemukan caranya.
Sementara itu di hutan, kancah yang menutupi Si Bungsu
semakin lama semakin membesar. Di bagian atasnya ditumbuhi pepohonan sehingga
kancah itu berubah menjadi sebuah bukit. Bukit itu dinamakan Bukit Kancah.
AN
ANALYSIS:
Narrative structure
Vladimir
Propp broke up fairy tales into sections. Through these sections
he was able to define the tale into a series of sequences that occurred within
the Russian
fairytale. Usually
there is an initial situation, after which the tale usually takes the following
31 functions. Vladimir Propp used this method to decipher Russian folklore and fairy tales. First of all, there
seems to be at least two distinct types of structural analysis in folklore. One
is the "syntagmatic" manner of assessment (as termed
following Lévi-Strauss 1964: 312), covering Propp's Morphology among others in
which the structure of a piece folklore is described in the chronological order
of the linear events it comprises. If a tale consists of elements A to Z, the
structure of the tale is thus delineated in the same sequence. The other type
of analysis is termed "paradigmatic" (cf. Sebag 1963:75), and
describes instead the underlying pattern (usually based upon a
priori binary
principle of opposition) of the folkloric text, independent
of chronology. Elements of the plot may be taken out of their "given"
order and regrouped in various analytic schemes.
Respectively
equivalent to syntagmatic and paradigmatic are the terms "diachronic" and "synchronic." Diachronic covers the sort of
analysis that conveys a sense of traversing the highs and lows of a story, like
riding the pattern of a sine wave.[2] The second term, synchronic, is where
the story is instead absorbed as a whole, like the pattern of a circle. Most
literary analyses are synchronic, offering a greater sense of unity among the
components of a story. Although both structural analyses convey partial
information about the story, each angle of analysis delivers a different set of
information.
Functions
After
the initial situation is depicted, the tale takes the following sequence of 31
functions:[4]
1.
ABSENTATION: A member of the hero's community or family leaves the
security of the home environment. This may be the hero themselves, or it may be some other relation that the
hero must later rescue. This division of the cohesive family injects initial
tension into the storyline. This may serve as the Hero's introduction,
typically portraying them as an ordinary person.
2.
INTERDICTION: A forbidding edict or command is passed upon the hero
('don't go there', 'don't do this'). The hero is warned against some action.
3.
VIOLATION of INTERDICTION. The prior rule is violated. Whether performed
by the Hero by accident or temper, a third party or a foe, this generally leads
to negative consequences. The villain enters the story via this event, although
not necessarily confronting the hero. They may be a lurking and manipulative
presence, or might act against the Hero's family in his absence.
4.
RECONNAISSANCE: The villain makes an effort to attain knowledge needed
to fulfill their plot. Disguises are often invoked as the villain actively
probes for information, perhaps for a valuable item or to abduct someone. They
may speak with a member of the family who innocently divulges a crucial
insight. The villain may also seek out the hero in their reconnaissance,
perhaps to gage their strengths in response to learning of their special
nature.
5.
DELIVERY: The villain succeeds at recon and gains a lead on their
intended victim. A map is often involved in some level of the event.
6.
TRICKERY: The villain attempts to deceive the victim to acquire
something valuable. They press further, aiming to con the protagonists and earn
their trust. Sometimes the villain make little or no deception and instead
ransoms one valuable thing for another.
7.
COMPLICITY: The victim is fooled or forced to concede and unwittingly or
unwillingly helps the villain. The villain is now free to access somewhere
previously off-limits, like the privacy of the hero's home or a treasure vault,
acting without restraint in their ploy.
8.
VILLAINY or LACKING: The villain harms or injures a family member,
including but not limited to abduction, theft, spoiling crops, plundering,
banishment or expulsion of one or more protagonists, committing murder,
threatening a forced marriage, providing nightly torments and so on.
Simultaneously or alternatively, a protagonist finds they desire or require
something lacking from the home environment (a potion or artifact etc.). The
villain may still be indirectly involved in the latter option, perhaps fooling
the family member into believing they need such an item.
9.
MEDIATION: One or more of the negative factors covered above comes to
the attention of the Hero, who uncovers the deceit/perceives the lacking/learns
of the villainous acts that have transpired.
10.
BEGINNING COUNTER-ACTION: The hero considers ways to resolve the issues,
by seeking a needed magical item, rescuing those who are captured or otherwise
thwarting the villain. This is a defining moment for the hero, one that shapes
their further actions and marks the point when they begin to fit their noble
mantle.
11.
DEPARTURE: The hero leaves the home environment, this time with a sense
of purpose. Here begins their adventure.
12.
FIRST FUNCTION OF THE DONOR: The hero encounters a magical agent or
helper (donor) on their path, and is tested in some manner
through interrogation, combat, puzzles or more.
13.
HERO'S REACTION: The hero responds to the actions of their future donor;
perhaps withstanding the rigours of a test and/or failing in some manner,
freeing a captive, reconciles disputing parties or otherwise performing good
services. This may also be the first time the hero comes to understand the
villain's skills and powers, and uses them for good.
14.
RECEIPT OF A MAGICAL AGENT: The hero acquires use of a magical agent as
a consequence of their good actions. This may be a directly acquired item,
something located after navigating a tough environment, a good purchased or
bartered with a hard-earned resourced or fashioned from parts and ingredients
prepared by the hero, spontaneously summoned from another world, a magical food
that is consumed, or even the earned loyalty and aid of another.
15.
GUIDANCE: The hero is transferred, delivered or somehow led to a vital
location, perhaps related to one of the above functions such as the home of the
donor or the location of the magical agent or its parts, or to the villain.
16.
STRUGGLE: The hero and villain meet and engage in conflict directly,
either in battle or some nature of contest.
17.
BRANDING: The hero is marked in some manner, perhaps receiving a
distinctive scar or granted a cosmetic item like a ring or scarf.
18.
VICTORY: The villain is defeated by the hero - killed in combat,
outperformed in a contest, struck when vulnerable, banished and so on.
19.
LIQUIDATION: The earlier misfortunes or issues of the story are
resolved; object of search are distributed, spells broken, captives freed.
20.
RETURN: The hero travels back to their home.
21.
PURSUIT: The hero is pursued by some threatening adversary, who perhaps
seek to capture or eat them.
22.
RESCUE: The hero is saved from a chase. Something may act as an obstacle
to delay the pursuer, or the hero may find or be shown a way to hide, up to and
included transformation unrecognisably. The hero's life may be saved by
another.
23.
UNRECOGNIZED ARRIVAL: The hero arrives, whether in a location along
their journey or in their return home, and is unrecognised or unacknowledged.
24.
UNFOUNDED CLAIMS: A false hero presents unfounded claims or performs some
other form of deceit. This may be the villain, one of the villain's underlings
or an unrelated party. It may even be some form of future donor for the hero,
once they've faced their actions.
25.
DIFFICULT TASK: A trial is proposed to the hero - riddles, test of
strength or endurance, acrobatics and other ordeals.
26.
SOLUTION: The hero accomplishes a difficult task.
27.
RECOGNITION: The hero is given due recognition - usually by means of
their prior branding.
28.
EXPOSURE: The false hero and/or villain is exposed to all and sundry.
29.
TRANSFIGURATION: The hero gains a new appearance. This may reflect aging
and/or the benefits of labour and health, or it may constitute a magical
remembering after a limb or digit was lost (as a part of the branding or from
failing a trial). Regardless it will serves to improve their looks.
30.
PUNISHMENT: The villain suffers the consequences of their actions,
perhaps at the hands of the hero, the avenged victims, or as a direct results
of their own ploy.
31.
WEDDING: The hero marries and is rewarded or promoted by the family or
community, typically ascending to a throne.
Some of these functions may
be inverted, such as the hero receives an artifact of power whilst still
at home, thus fulfilling the donor function early. Typically such functions are
negated twice, so that it must be repeated three times in Western cultures.
Characters
He also concluded that all the
characters could be resolved into 7 broad character functions in the 100 tales he
analyzed:
2.
The dispatcher — any character who illustrates the need for the hero's
quest and sends them hero off. This often overlaps with the princess's father.
3.
The helper — a typically magical entity that comes to help the hero in
their quest.
4.
The princess or prize, and often her father — the hero deserves her
throughout the story but is unable to marry her as a consequence of some evil
or injustice, perhaps the work of the villain. The hero's journey is often
ended when he marries the princess, which constitutes the villain's defeat.
5.
The donor — a character that prepares the hero or
gives the hero some magical object, sometimes after testing them.
6.
The hero — the character who reacts to the dispatcher
and donor characters, thwarts the villain, resolves any lacking or wronghoods
and weds the princess.
7.
The false hero — a Miles Gloriosus figure who takes credit for the hero’s
actions or tries to marry the princess.
These roles could sometimes be
distributed among various characters, as the hero kills the villain dragon, and
the dragon's sisters take on the villainous role of chasing him. Conversely,
one character could engage in acts as more than one role, as a father could
send his son on the quest and give him a sword, acting as both dispatcher and
donor.
Based on the Fairy Tale “Asal Mula Bukit Kancah”, the characters as follow:
1.
The villain : the neighbor of the Village “Negeri tetangga”.it can be seen from
the part of story “Suatu saat, Negeri
Tanjung mendapat ancaman penyerangan dari negeri tetangga. Sang Raja merasa
gundah, karena negeri tetangga sangat kuat”.its mean that the neighbor of
the village want to attack them.
2.
The dispatcher : The King/Sang Raja
The king need help from “Kakak
Sulung” and “Kakak Tengah” to save the village that he lead..
3.
The princess :
The daughter of the King
In this fairy tale, the princess or
the King’s daughter marry the hero as such wage.
Because “Kakak Tengah” is someone
who has survive until the end of the story and he successful to save the
village.
0 komentar: